DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26747#0602
538
LOMBAED ARCHITECTUBE.
Book. II.
arrangements. Altogetlier, it is eviclent that tliat subdivision of
labour (if I may use the expression) whicli was so characteristic of the
true Gothic style had here been perfectly understood, every part
having its own function and telling its own story. It only now
required a little experience to point out what were the best and most
agreeable proportions, not only as to size, but as to solidity, to com-
plete the style. In a century from the date of this churcli the
required progress had been made, and a century after that time it
had been carried too far, and the artistic value of the style was lost in
mere masonic excellence. San Michele and the other churches ■ of
its age fail principally from over-heaviness of parts and a certain
clumsiness in construction, which, though not without its value as an
expression of power, wants the refinement necessary for a true work
of art. Externally, one of the most pleasing features of this churcli
is the apse with its circular gallery. Usually in Italian churches the
gallery is a simple range of similar arcades; here, however, it is
broken into three great divisions by coupled shafts springing from the
ground, and these again are subdivided by single shafts running in
like manner through the whole height of the apse. The gallery thus
not only becomes a part of the whole design, instead of looking as
if it might have been added as an afterthoiTght, but an agreeable
variety is also given, which adds not a little to the pleasing effect of
the building.
Besides this, there are at least two other churches in Pavia which,
though altered in many parts, retain their apsidal aiTangements
tolerably perfect. One of tliese, that of San Teodoro, may be some-
wliat older tlian the San Michele, and lias its gallery divided into
triplets of arcades by bold flat buttresses springing from the ground.
The ot-her, San Pietro inCielo d’Oro, is considerably more modern, the
arcade being omitted round tlie apse, though introduced in the central
dome. It has besides two subordinate apses of graceful design, though
inferior to tlie older examples.
Though Milan must have been rich in churches of this age, the
only one that now remains tolerably entire is San Ambrogio, which is
so interesting a cliurch as almost to rnake amends for its singularity.
Plistorical evidence shows that a churcli did exist here from a very
early age. Tliis was rebuilt in the 9th century by Anspertus,
a bishop of the time, aided by the munificence of Louis the rious;
but except the apse and the older of the two towers—that of the canons
—nothing remains of even that chureh, all the rest having been
rebuilt in the 12th century. The vaulting of the church, which is
singularly clumsy, and clumsily fitted to the substructure, is the
work of the 13th century.
The disposition of this church will be understood from the following
plan, which shows the atrium as well as the church, the former being
virtiTally the nave. In other words, had the chureh been erected on
the colder and stormier side of the Alps, a clerestory would liave been
added to the atrium, and it would liave been roofed over; and then
the plan would have beon nearly idcntical with that of one of our
LOMBAED ARCHITECTUBE.
Book. II.
arrangements. Altogetlier, it is eviclent that tliat subdivision of
labour (if I may use the expression) whicli was so characteristic of the
true Gothic style had here been perfectly understood, every part
having its own function and telling its own story. It only now
required a little experience to point out what were the best and most
agreeable proportions, not only as to size, but as to solidity, to com-
plete the style. In a century from the date of this churcli the
required progress had been made, and a century after that time it
had been carried too far, and the artistic value of the style was lost in
mere masonic excellence. San Michele and the other churches ■ of
its age fail principally from over-heaviness of parts and a certain
clumsiness in construction, which, though not without its value as an
expression of power, wants the refinement necessary for a true work
of art. Externally, one of the most pleasing features of this churcli
is the apse with its circular gallery. Usually in Italian churches the
gallery is a simple range of similar arcades; here, however, it is
broken into three great divisions by coupled shafts springing from the
ground, and these again are subdivided by single shafts running in
like manner through the whole height of the apse. The gallery thus
not only becomes a part of the whole design, instead of looking as
if it might have been added as an afterthoiTght, but an agreeable
variety is also given, which adds not a little to the pleasing effect of
the building.
Besides this, there are at least two other churches in Pavia which,
though altered in many parts, retain their apsidal aiTangements
tolerably perfect. One of tliese, that of San Teodoro, may be some-
wliat older tlian the San Michele, and lias its gallery divided into
triplets of arcades by bold flat buttresses springing from the ground.
The ot-her, San Pietro inCielo d’Oro, is considerably more modern, the
arcade being omitted round tlie apse, though introduced in the central
dome. It has besides two subordinate apses of graceful design, though
inferior to tlie older examples.
Though Milan must have been rich in churches of this age, the
only one that now remains tolerably entire is San Ambrogio, which is
so interesting a cliurch as almost to rnake amends for its singularity.
Plistorical evidence shows that a churcli did exist here from a very
early age. Tliis was rebuilt in the 9th century by Anspertus,
a bishop of the time, aided by the munificence of Louis the rious;
but except the apse and the older of the two towers—that of the canons
—nothing remains of even that chureh, all the rest having been
rebuilt in the 12th century. The vaulting of the church, which is
singularly clumsy, and clumsily fitted to the substructure, is the
work of the 13th century.
The disposition of this church will be understood from the following
plan, which shows the atrium as well as the church, the former being
virtiTally the nave. In other words, had the chureh been erected on
the colder and stormier side of the Alps, a clerestory would liave been
added to the atrium, and it would liave been roofed over; and then
the plan would have beon nearly idcntical with that of one of our