DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25500#0280
184
COMPARATIVE ARCHITECTURE.
examples to the same extent as in those we have been con-
sidering.
In the exteriors of the churches we notice espe-
cially the flatness of the roofs (No. no); the tendency to
mask the aisle roofs on the west fagade, by including the
whole composition under one gable (No.107); the great
central circular window in the west front lighting the nave ;
the flatness and comparative unimportance of the mould-
ings, their place being more than taken by the beautiful
coloured marbles with which the fagades were faced (No.
110).
The importance of the crowning cornice (No. no), and
the absence of pinnacles due to the unimportance of the but-
tresses, should be remarked; also the employment of elabo-
rately carved projecting porches at the west end, the
columns of which often rest on the backs of lions and
other animals (No. 63).
“ Stern and sad (so rare the smiles
Of sunlight) looked the Lombard piles ;
Porch pillars on the lion resting,
And sombre, old, colonnaded aisles.”—Tennyson.
Sculpture wherever used partakes of classical purity, and
is so far superior to that exhibited in northern examples, but
it enters far less into the general composition and mean-
ing of the architecture.
Mosaic was also used externally in panels, in continua-
tion of early ideas and practice.
3. EXAMPLES.
NORTH ITALY.
Milan Cathedral is the most important work erected
in Italy during the Middle Ages (a.d. 1385-1418) (No. 107),
and we shall notice especially the German influence, both
in character and details. It is the largest mediaeval cathe-
dral, with the exception of Seville, and is built entirely of
white marble. The roof is very flat in pitch, being con-
structed of massive marble slabs, laid upon the upper surface
of the vaulting.
COMPARATIVE ARCHITECTURE.
examples to the same extent as in those we have been con-
sidering.
In the exteriors of the churches we notice espe-
cially the flatness of the roofs (No. no); the tendency to
mask the aisle roofs on the west fagade, by including the
whole composition under one gable (No.107); the great
central circular window in the west front lighting the nave ;
the flatness and comparative unimportance of the mould-
ings, their place being more than taken by the beautiful
coloured marbles with which the fagades were faced (No.
110).
The importance of the crowning cornice (No. no), and
the absence of pinnacles due to the unimportance of the but-
tresses, should be remarked; also the employment of elabo-
rately carved projecting porches at the west end, the
columns of which often rest on the backs of lions and
other animals (No. 63).
“ Stern and sad (so rare the smiles
Of sunlight) looked the Lombard piles ;
Porch pillars on the lion resting,
And sombre, old, colonnaded aisles.”—Tennyson.
Sculpture wherever used partakes of classical purity, and
is so far superior to that exhibited in northern examples, but
it enters far less into the general composition and mean-
ing of the architecture.
Mosaic was also used externally in panels, in continua-
tion of early ideas and practice.
3. EXAMPLES.
NORTH ITALY.
Milan Cathedral is the most important work erected
in Italy during the Middle Ages (a.d. 1385-1418) (No. 107),
and we shall notice especially the German influence, both
in character and details. It is the largest mediaeval cathe-
dral, with the exception of Seville, and is built entirely of
white marble. The roof is very flat in pitch, being con-
structed of massive marble slabs, laid upon the upper surface
of the vaulting.