Byzantine and Romanesque architecture . CH. XIV] TUSCANY 223 stone like the others, of which the jambs remain, it was Toscaneiiaaltered evidently in the 13th century by the insertion of Maggioreslender marble shafts, banded half way up, carrying anarch of three orders and a label, two of the orders beingmoulded and the rest carved. This again has a queersemi-English look, and reminds one of some doorwaysin Lincolnshire. Beyond the last jamb shaft is a spiralcolumn of marble, standing in advance of the wall and. Fig. 49. resting on a small lions back, a purely Italian tympanum, here
Byzantine and Romanesque architecture . CH. XIV] TUSCANY 223 stone like the others, of which the jambs remain, it was Toscaneiiaaltered evidently in the 13th century by the insertion of Maggioreslender marble shafts, banded half way up, carrying anarch of three orders and a label, two of the orders beingmoulded and the rest carved. This again has a queersemi-English look, and reminds one of some doorwaysin Lincolnshire. Beyond the last jamb shaft is a spiralcolumn of marble, standing in advance of the wall and. Fig. 49. resting on a small lions back, a purely Italian tympanum, here too, seems out of place, as if it hadbelonged to a different doorhead. The figure of theMadonna is not in the middle, and the circle with theLamb on one side does not balance the long oval ordouble circle on the other containing the Sacrifice ofIsaac, and the story of Balaam. Above, as at S. Pietro, is a graceful arcade of littlearches or colonnettes, and in the wall over this, which is 224 TUSCANY [CH. XIV ToscanellaS. MariaMaggiore
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Keywords: ., bookauthorjacksont, bookcentury1900, bookdecade1910, bookyear1913
