ITALIAN ARCHITECTURE. 1— II.
the middle ages. — ( Continued.)
W
E come then to the ninth century, the period at which, as I have said, Lombard art asserted itself decisively. This date, let it be remarked, is posterior to Longobard rule. It is, in fact, to the ninth century that we refer the church of San Ambrogio at Milan, the edifice which presents the truest type of the Lombard church, with groined vaulting, differing from the Byzantine in the projection of the ribs and in the polystyle pilasters — the characteristic Lombard features. San Ambrogio was built by the archbishops of Milan, Angilberto II (824-860) and Ansperto (869-881), who had a powerful influence on the art of their time. Some writers, however,
would now place the date of this basilica, which offers the earliest organic ensemble of the Lombard style, much later than I have done. This view is worthy of consideration, and, though I follow the most commonly received opinion here, it is not without reservation. Whatever may be the fact, it is true that the highest Lombard development took place in the twelfth century, with the cathedrals of Modena, Piacenza, Parma and Cremona.
Even in the north of Italy this style exhibits much variety. In the cathedral of Modena, for example, there are evident Tuscan traces. This edifice was begun by Lanfranc, in 1099. In 1196, Pope Paschalis II, in the presence of the Countess Matilda, consecrated its altar to Saint Geminian; in 1159, Frederick I celebrated Easter there. There was then an .ZEmilian architecture of Lombard character, as also a Piedmontese, a Tuscan, a Venetian, and even a style peculiar to Como, all possessing the same general Lombard character. San Ambrogio of Milan has been cited; mention should also
he made of San Eustorgio, one of the most imporant Milanese basilicas of the ninth century, San Celso (end of the tenth century), San Sempliciano (thirteenth century), and San Babila; at Pavia, of San Michele, the oldest part of which may be of the ninth century, but belonging as a whole to the twelfth,
San Pietro in Ciel d’Oro (consecrated in 1136), Santa Maria del Popolo (twelfth century), San Teodoro (middle of the twelfth century?), and, just out of the city, San Lanfranco (end of the twelfth century) and San Lazaro (middle of the twelfth century); at Como, the magnificent church of San Aboudio (eleventh century),— it seems to have been very well along in 1063,— San Carpoforo, attributed by a few authors to the time of Liutprand (eighth century), but a trifle earlier than San Abondio, and San Fedele, belonging to a much more advanced period than San Abondio. In this list we must not forget the very singular church of Santa Maria del Tiglio, at Gravedona on Lake Como (end of the thirteenth century?).
The productions of Lombard art in Piedmont are also remarkable though there is a leaning here toward the French Romanesque. The following are noteworthy examples : the Cathedral of Montiglio (eleventh century ?) San Secondo, near Montiglio (eleventh century?) and Santa Maria of Vezzolano, near Chivasso, where there is an evident Tuscan tendency; but especially important is Sant’ Andrea of Vercelli, one of the most charming of Italian mediaeval churches. It was founded by Cardinal Guala Bicchieri, in 1219, after his return from England. According to the chronicles, Cardinal Guala (t 1227) had an English architect in his employ named John Dominic Brighinth or Brighintz. However, in the church of
Sant’ Andrea, a double architectonic imprint is clearly recognizable. It is, in fact, the connecting link between the Lombard and the Gothic. The Cathedral of Trent exhibits the same peculiarities. In it the transition between the Germanic
1 From the French of Alfredo Melani, in Planat’s Encyclopedic de VArchiecture et de la Construction. Continued from No, 829, page 97.
Fig. 5. San Giovanni Fuoricivitas, Pistoja.
Fig. 1. San Zenone, Verona.
Fig. 3. San Miniato, Florence.
Fig. 2. Baptistery at Parma.
the middle ages. — ( Continued.)
W
E come then to the ninth century, the period at which, as I have said, Lombard art asserted itself decisively. This date, let it be remarked, is posterior to Longobard rule. It is, in fact, to the ninth century that we refer the church of San Ambrogio at Milan, the edifice which presents the truest type of the Lombard church, with groined vaulting, differing from the Byzantine in the projection of the ribs and in the polystyle pilasters — the characteristic Lombard features. San Ambrogio was built by the archbishops of Milan, Angilberto II (824-860) and Ansperto (869-881), who had a powerful influence on the art of their time. Some writers, however,
would now place the date of this basilica, which offers the earliest organic ensemble of the Lombard style, much later than I have done. This view is worthy of consideration, and, though I follow the most commonly received opinion here, it is not without reservation. Whatever may be the fact, it is true that the highest Lombard development took place in the twelfth century, with the cathedrals of Modena, Piacenza, Parma and Cremona.
Even in the north of Italy this style exhibits much variety. In the cathedral of Modena, for example, there are evident Tuscan traces. This edifice was begun by Lanfranc, in 1099. In 1196, Pope Paschalis II, in the presence of the Countess Matilda, consecrated its altar to Saint Geminian; in 1159, Frederick I celebrated Easter there. There was then an .ZEmilian architecture of Lombard character, as also a Piedmontese, a Tuscan, a Venetian, and even a style peculiar to Como, all possessing the same general Lombard character. San Ambrogio of Milan has been cited; mention should also
he made of San Eustorgio, one of the most imporant Milanese basilicas of the ninth century, San Celso (end of the tenth century), San Sempliciano (thirteenth century), and San Babila; at Pavia, of San Michele, the oldest part of which may be of the ninth century, but belonging as a whole to the twelfth,
San Pietro in Ciel d’Oro (consecrated in 1136), Santa Maria del Popolo (twelfth century), San Teodoro (middle of the twelfth century?), and, just out of the city, San Lanfranco (end of the twelfth century) and San Lazaro (middle of the twelfth century); at Como, the magnificent church of San Aboudio (eleventh century),— it seems to have been very well along in 1063,— San Carpoforo, attributed by a few authors to the time of Liutprand (eighth century), but a trifle earlier than San Abondio, and San Fedele, belonging to a much more advanced period than San Abondio. In this list we must not forget the very singular church of Santa Maria del Tiglio, at Gravedona on Lake Como (end of the thirteenth century?).
The productions of Lombard art in Piedmont are also remarkable though there is a leaning here toward the French Romanesque. The following are noteworthy examples : the Cathedral of Montiglio (eleventh century ?) San Secondo, near Montiglio (eleventh century?) and Santa Maria of Vezzolano, near Chivasso, where there is an evident Tuscan tendency; but especially important is Sant’ Andrea of Vercelli, one of the most charming of Italian mediaeval churches. It was founded by Cardinal Guala Bicchieri, in 1219, after his return from England. According to the chronicles, Cardinal Guala (t 1227) had an English architect in his employ named John Dominic Brighinth or Brighintz. However, in the church of
Sant’ Andrea, a double architectonic imprint is clearly recognizable. It is, in fact, the connecting link between the Lombard and the Gothic. The Cathedral of Trent exhibits the same peculiarities. In it the transition between the Germanic
1 From the French of Alfredo Melani, in Planat’s Encyclopedic de VArchiecture et de la Construction. Continued from No, 829, page 97.
Fig. 5. San Giovanni Fuoricivitas, Pistoja.
Fig. 1. San Zenone, Verona.
Fig. 3. San Miniato, Florence.
Fig. 2. Baptistery at Parma.