History of mediæval art . iastical edifices of Byzantium. This building, erected by-Bishop Theodulph of Orleans during the lifetime of Charlemagne,has a double interest, be-ing the prototype of in Perigueux, andof other buildings ofFrance which are of thispeculiar disposition, anddisplaying in the apsesof the transepts an ar-rangement of plan sim-ilar to that which ap-pears fully developed inthe Church of the Apos-tles and in that of of the Capitol inCologne. The many churchesand cloisters which werebuilt during the epoch ofCharlemagne were gener-ally imitated from Italianand
History of mediæval art . iastical edifices of Byzantium. This building, erected by-Bishop Theodulph of Orleans during the lifetime of Charlemagne,has a double interest, be-ing the prototype of in Perigueux, andof other buildings ofFrance which are of thispeculiar disposition, anddisplaying in the apsesof the transepts an ar-rangement of plan sim-ilar to that which ap-pears fully developed inthe Church of the Apos-tles and in that of of the Capitol inCologne. The many churchesand cloisters which werebuilt during the epoch ofCharlemagne were gener-ally imitated from Italianand more especially Ro-man models. This wasthe case with the twomost important Frenchconvents of that time—Centula (St. Riquier) inPicardy, and Fontanel-lum (Vandrille) in Nor-mandy, both enlarged andreconstructed by friendsof the emperor: the for-mer by Angilbert, the lat-ter by Ansegius. The pig_ Il6i_Plan of the church of churches, whichwere numerous—Vandrille, for instance, possessing not less than. Fig. 115.—View of the Interior of the Church ofOttmarsheim.
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