Byzantine and Romanesque architecture . inly one of thecharacteristics of Lombard architecture. The Pisan exterior galleries are also common in Lom-bardy round the apse though not in the facade. At Parmathey occur round the apses of both choir and Maria Maggiore at Bergamo has one (Plate LXVIII,p. 250) and so has S. Fedele at Como (Plate LXXXI).There is one round the apse of S. Michele, Pavia, but itis divided into bays by pilasters that run up from is a new development of the feature. At Modenathere is one treated somewhat in the same way, withthe difference that three
Byzantine and Romanesque architecture . inly one of thecharacteristics of Lombard architecture. The Pisan exterior galleries are also common in Lom-bardy round the apse though not in the facade. At Parmathey occur round the apses of both choir and Maria Maggiore at Bergamo has one (Plate LXVIII,p. 250) and so has S. Fedele at Como (Plate LXXXI).There is one round the apse of S. Michele, Pavia, but itis divided into bays by pilasters that run up from is a new development of the feature. At Modenathere is one treated somewhat in the same way, withthe difference that three lights are grouped under anincluding arch, between the dividing pilasters. Thesame idea is carried out throughout the building outsideand also inside, where the three-light triforium openingshave mid-wall shafts with springers on them projectingfore and aft to carry the thick wall above. The wholechurch has rather a German look, though of course itmust be remembered that Lombard architecture is theparent style, and German the ^,j^ i CH. xvii] LOMBARDY 273 We shall not find in works of the Lombard school the Lombarddelicacy and refinement of Tuscany. Sculpture plays a ^^^ ^ ^^^less important part, and conventional ornament takes theplace of a freer style of design. For the splendid scroll-work of Diotisalvi at Pisa we have the interlacingpatterns of S. Ambrogio, and for the fine foliaged capitalsof Lucca and Viterbo the cushion capitals of Borgo SanDonnino and the roughly splayed capitals of the nave ofS. Zenone at Verona. The wide spread Romanesque Lombardfacades of Pavia and Parma crowned by a single flat-pitched gable are ungraceful, and will not bear comparisonwith the fronts of Lucca, Pisa and Pistoja, though in thenext century they were relieved by the projecting porches,sometimes two storeys in height, carried on lion-bornecolumns, which form so very characteristic a feature ofNorth Italian churches. But the Lombard was a strong virile style, and was Charac- tc
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Keywords: ., bookauthorjacksont, bookcentury1900, bookdecade1910, bookyear1913
