. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. chief effect of the interior inboth churches is derived from the choir, with its great apse and itsflanking chapels. The lofty windows in two stages are treated in amanner wholly characteristic of Venice, the height being divided in the middle by a tran-som with tracery, andthe breadth by col-umnar mullions. Thearch-head is also filledwith tracery, which,with the tracery ofthe transoms, gives apeculiar richness tothe composition. The treatment ofthe east end is allthat gives any in-terest to the e
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. chief effect of the interior inboth churches is derived from the choir, with its great apse and itsflanking chapels. The lofty windows in two stages are treated in amanner wholly characteristic of Venice, the height being divided in the middle by a tran-som with tracery, andthe breadth by col-umnar mullions. Thearch-head is also filledwith tracery, which,with the tracery ofthe transoms, gives apeculiar richness tothe composition. The treatment ofthe east end is allthat gives any in-terest to the exteriorof the church, the fa-cade and flanks beingwithout merit, andquite destitute of anyGothic on the east endthe two stages of tallwindows filling thewhole breadth of eachface of the middleapse, which is itselfof great height, theabsence of buttressesat the angles, and thelower apses on either side, give to this portion of the church an effectnot only of height, but of breadth and simplicity; and in the Fraria curious though not wholly admirable feature is added in the zigzag. Fig. 363. Venice. SS. Giovanni e Paolo. THE GOTHIC 193 line of the flankingchapels, in which thewindows are dividedby two transomsinstead of one, asin the central SS. Giovanni ePaolo, the brick cor-nice which dividesthe two stages of tliecentral apse is some-what more elaboratethan in the Frari,and above it a balus-traded gallery runsin front of the upperwindows. The Frari has acharacteristic campa-nile, a century laterthan the church, ris-ing out of the northtransept, with twostages of vertical panels on each face, with arched heads, pointedbelow and round above, and a low belfry with the customary groupof three open round arches surmounted by an octagonal stage.^ There appears to be no authority except that of Vasari for attribut-ing the design of these churches to Nicolo Pisano, and Vasarisauthority is not so uniformly trustworthy as to make us disregardthe entire absence of an
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