DOI Page / Citation link:
https://doi.org/10.11588/diglit.7186#0086
Plate 28.
THE CAMPANILE OF SAN RUSTICO, CARAVAGGIO.
1 2 3 4 5 6 7 8 9 10 11 12 ,„
Ji__1 111111111 1 1 Metre.
? IO 15 20 25 30 3; AO _ ,. , ,
ill 1 1 1 i V_3 English feet.
EHIND the church of San Rustico stands a little church or shrine,
like that in the Borgo di Caravaggio, and belonging to the same order
of architecture, both having probably been designed by one and
the same architect, perhaps Giovanni Battista Battagli of Lodi, who flourished
about the end of the fourteenth century. Artists usually term the end of the
fourteenth and beginning of the fifteenth centuries the epoch of the Renaissance
even for architecture and its decorations ; but I demur to this, recognising no
season of revival but one unbroken course of progress. And if they would
name Renaissance a return to the Greco-Roman type, I maintain that the
classic school awes me by no authority beyond that of the equally reasonable
Byzantine, Lombard, or Gothic. The Bramantesque, or Cinquccento style,
being in fact the old Greco-Roman enriched by good ideas borrowed from other
orders, seems to me well suited to modern Italy; it is at once beautiful and
elegant, as exemplified in the facade of the Certosa of Pavia, and in many noble
monuments of the period.
The architect who designed this campanile was one of those who, like
Bramante, reverted to the classic style.
This campanile, although its summit was never completed, deserves the
Plate we give of it as illustrating how such a structure may be adequately de-
corated by the economical use of simple brick. Had it been left plain it must
THE CAMPANILE OF SAN RUSTICO, CARAVAGGIO.
1 2 3 4 5 6 7 8 9 10 11 12 ,„
Ji__1 111111111 1 1 Metre.
? IO 15 20 25 30 3; AO _ ,. , ,
ill 1 1 1 i V_3 English feet.
EHIND the church of San Rustico stands a little church or shrine,
like that in the Borgo di Caravaggio, and belonging to the same order
of architecture, both having probably been designed by one and
the same architect, perhaps Giovanni Battista Battagli of Lodi, who flourished
about the end of the fourteenth century. Artists usually term the end of the
fourteenth and beginning of the fifteenth centuries the epoch of the Renaissance
even for architecture and its decorations ; but I demur to this, recognising no
season of revival but one unbroken course of progress. And if they would
name Renaissance a return to the Greco-Roman type, I maintain that the
classic school awes me by no authority beyond that of the equally reasonable
Byzantine, Lombard, or Gothic. The Bramantesque, or Cinquccento style,
being in fact the old Greco-Roman enriched by good ideas borrowed from other
orders, seems to me well suited to modern Italy; it is at once beautiful and
elegant, as exemplified in the facade of the Certosa of Pavia, and in many noble
monuments of the period.
The architect who designed this campanile was one of those who, like
Bramante, reverted to the classic style.
This campanile, although its summit was never completed, deserves the
Plate we give of it as illustrating how such a structure may be adequately de-
corated by the economical use of simple brick. Had it been left plain it must