DOI Page / Citation link:
https://doi.org/10.11588/diglit.29898#0601
Bk. II. Ch. IY.
PAYIA.
565
into three great clivisions by coupled shafts springing from the ground,
ancl these again subdivicled 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 like a possible
afterthought, but an agreeable variety is also given, which adds not a
little to the pleasing effect of the building.
There are at least two other churches in Pavia, which, though
altered in many parts, retain their apsidal arrangements tolerably
perfect. One of these, that of San Teodoro (1150), may be somewhat
445. View of the Apse of San Michele, Pavia. (From L)u Somerard, ‘ Les Arts au Moyen-Age.’)
later than the San Michele, and has its gallery divided into triplets of
arcades by bold flat buttresses springing from the ground. In the
other, San Pietro in Cielo d’Oro, clating from 1132, the arcade is
omitted round the apse, though introduced in the central dome. It
has besides two subordinate apses of graceful design, but inferior to
the other examples.
Though Milan must have been rich in churches of this age, the
only one now remaining tolerably entire is San Ambrogio, which is so
interesting as almost to make amends for its singularity. ITistorical
PAYIA.
565
into three great clivisions by coupled shafts springing from the ground,
ancl these again subdivicled 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 like a possible
afterthought, but an agreeable variety is also given, which adds not a
little to the pleasing effect of the building.
There are at least two other churches in Pavia, which, though
altered in many parts, retain their apsidal arrangements tolerably
perfect. One of these, that of San Teodoro (1150), may be somewhat
445. View of the Apse of San Michele, Pavia. (From L)u Somerard, ‘ Les Arts au Moyen-Age.’)
later than the San Michele, and has its gallery divided into triplets of
arcades by bold flat buttresses springing from the ground. In the
other, San Pietro in Cielo d’Oro, clating from 1132, the arcade is
omitted round the apse, though introduced in the central dome. It
has besides two subordinate apses of graceful design, but inferior to
the other examples.
Though Milan must have been rich in churches of this age, the
only one now remaining tolerably entire is San Ambrogio, which is so
interesting as almost to make amends for its singularity. ITistorical