DOI Page / Citation link:
https://doi.org/10.11588/diglit.7186#0100
Plates 34 & 35.
SANTA MARIA IN S TRAD A, AT MONZA : THE FAQ AD E AND
PRINCIPAL ENTRANCE.
1_1_1_i_7_i_1 Metres.
Scale
OF V
Plate 34. 5 1° «S f>
£_I English feet.
HIS building, the work of Bonino di Campione, engineer and architect
of Milan Cathedral, belongs to the middle of the fourteenth century,
and to the dawn of a change in architectural style and ornamenta-
tion. The pupils or imitators of Giotto introduced into their decorations
geometrical figures, as squares, triangles, rhombs, rhomboids, hexagons, octagons,
circles, &c, which, in their hands, blended admirably with architectural lines
and ornaments; whilst, at the same time, the Gothic style came into fashion in
Italy. Hence arose and flourished in its day a mixed style compounded of
Lombard and Gothic, which combined geometrical forms with a little Gothic.
The designer of the Gothic cathedral of Milan would naturally be disposed to
produce another work of the same type, such as the church we are now
considering. At a period when the religious severity of elder times ceased to
be characteristic of the prevalent style of ecclesiastical building, it was very
readily abandoned in such a church, or rather shrine, as this of Santa Maria in
Strada. The upper part of this church is covered with terra-cotta ornaments :
the subjects of the squares, which form a sort of cornice and frame to the great
round window, and those which flank it on either side, are all different from one
another, and must, therefore, have been modelled one by one. This is also the
case with certain minor squares round the same window, with the door of
p
SANTA MARIA IN S TRAD A, AT MONZA : THE FAQ AD E AND
PRINCIPAL ENTRANCE.
1_1_1_i_7_i_1 Metres.
Scale
OF V
Plate 34. 5 1° «S f>
£_I English feet.
HIS building, the work of Bonino di Campione, engineer and architect
of Milan Cathedral, belongs to the middle of the fourteenth century,
and to the dawn of a change in architectural style and ornamenta-
tion. The pupils or imitators of Giotto introduced into their decorations
geometrical figures, as squares, triangles, rhombs, rhomboids, hexagons, octagons,
circles, &c, which, in their hands, blended admirably with architectural lines
and ornaments; whilst, at the same time, the Gothic style came into fashion in
Italy. Hence arose and flourished in its day a mixed style compounded of
Lombard and Gothic, which combined geometrical forms with a little Gothic.
The designer of the Gothic cathedral of Milan would naturally be disposed to
produce another work of the same type, such as the church we are now
considering. At a period when the religious severity of elder times ceased to
be characteristic of the prevalent style of ecclesiastical building, it was very
readily abandoned in such a church, or rather shrine, as this of Santa Maria in
Strada. The upper part of this church is covered with terra-cotta ornaments :
the subjects of the squares, which form a sort of cornice and frame to the great
round window, and those which flank it on either side, are all different from one
another, and must, therefore, have been modelled one by one. This is also the
case with certain minor squares round the same window, with the door of
p