architecture of the close of the eleventh century and the Lombard, which had then reached its zenith, is very apparent,— as has been pointed out, among others, by Kugler [ Geschichte der Baukunst, vol. II, p. 85-87]. According to certain German critics, this Germanic influence is also traceable in the church of San Zenone at Verona, completed in 1138, a basilica of considerable importance (Figure 1).
Lombard architecture flourished also at Padua. We call attention to the basilica at San Antonio, begun after 1231 and completed in the following century; the Lombard disposition is discernable in the mural masses, amid imitations of Saint Mark’s at Venice and combined with tendencies towards the Gothic.
Taking the most direct route from Milan to Southern Italy, we encounter at Piacenza the magnificent Lombard cathedral begun in 1123 and finished in 1233; next comes the Cathedral of Parma, founded between 1055 and 1058 and completed in 1106, ruined and gradually rebuilt; and the original and interesting Baptistery (Figure 2). Not far from Parma is Modena, the study of whose cathedral will prepare one for a
fagade, both in the mass and in the decorative system, could not be more Classic (Figure 3). Florence, however, was more conservative than the neighboring cities. Lombard influence was powerless here, although, as has already been said, it was very marked at Pisa, Lucca, Pistoja, Prato and Arezzo.
The Tuscan churches of this period are enriched with numerous small blind galleries, a feature which is far less prominent in the Lombard style of Lombardy; beneath are arches with vertical development, and there is everywhere a constant repetition of the column or light pilaster, as shown by the accompanying illustrations. Other characteristic features are found in the use, on the exterior, of alternating courses of white marble and green serpentine; and, in the entire exclusion from the ornamentation of intertwining ribbons, which occur elsewhere along with a great profusion of leaves and foliage.
The Cathedral of Pisa (Figure 4), with the leaning Tower and the Baptistery, furnishes a good example of these constructions. It was founded in 1063, during the pontificate of Alexander II; the Tower dates from 1123, and the Baptistery
Fig. 4. Cathedral and Leaning Tower, Pisa.
clear understanding of the art of the Lombard period in Tuscany.
Pisa, Lucca, Pistoja, Prato and Arezzo are the Tuscan cities in which this architecture appeared in its greatest perfection. It is perhaps unnecessary to remind the reader that in Tuscany — the land of Classic art — it would have been obviously impossible for the architecture of the Lombard period to develop as in the North. The Tuscan art of this time is therefore more Roman than Lombard proper. Again, Classic influence is everywhere manifest here, and with increasing force as Rome is approached. The conservative element, with a leaning toward the Classic forms of antiquity, has always predominated in Tuscany.
At the period of which we are writing, Tuscan life was calm and peaceful. Although offering the most direct route to Rome from the North, the country was but little devastated by war and remained, as it were, apart; it was the section of the peninsula that suffered least from invasions. This condition of things naturally found expression in an extremely conservative architecture. The basilica of San Miniato, at Florence, for example, which was rebuilt about the year 1000, has the organism of a basilica of the early days of Christianity. The
from 1163. There are many other very important churches in the same style, most of which I must pass over. San Frediano, at Lucca, is remarkable on account of its age — it was founded in the seventh century — and possesses characteristic gold mosaics. All of the upper part of the fagade is adorned with work of this kind which was executed early in the twelfth century. The church was rebuilt in its present form by Prior Rotone, in 1112, and consecrated in 1147. At Lucca, I cite: the Cathedral (San Martino) and San Michele—the last with a fagade rich in sculptures and mosaics. The cathedral apparently dates back to the sixth century, but it was restored about the middle of the eleventh and consecrated in 1070. The fagade was completed later by a Comacino, Guidetto of Como, who also did a great deal on the fagade of San Michele, a twelfth-century edifice, A very remarkable pulpit by the same artist in the church of San Bartolommeo at Pistoja is signed 1250. At Pistoja, I call attention also to what remains of the exterior of Sant’ Andrea, said to be the work of Gruamonte, of Pisa, or Ravenna (?), and the north side of San Giovanni Fuoricivitas (1180?) likewise attributed to Gruamonte, architect and sculptor (Figure 5). At Arezzo, the magnificent church of Santa Maria della Pieve (thirteenth century) may
Lombard architecture flourished also at Padua. We call attention to the basilica at San Antonio, begun after 1231 and completed in the following century; the Lombard disposition is discernable in the mural masses, amid imitations of Saint Mark’s at Venice and combined with tendencies towards the Gothic.
Taking the most direct route from Milan to Southern Italy, we encounter at Piacenza the magnificent Lombard cathedral begun in 1123 and finished in 1233; next comes the Cathedral of Parma, founded between 1055 and 1058 and completed in 1106, ruined and gradually rebuilt; and the original and interesting Baptistery (Figure 2). Not far from Parma is Modena, the study of whose cathedral will prepare one for a
fagade, both in the mass and in the decorative system, could not be more Classic (Figure 3). Florence, however, was more conservative than the neighboring cities. Lombard influence was powerless here, although, as has already been said, it was very marked at Pisa, Lucca, Pistoja, Prato and Arezzo.
The Tuscan churches of this period are enriched with numerous small blind galleries, a feature which is far less prominent in the Lombard style of Lombardy; beneath are arches with vertical development, and there is everywhere a constant repetition of the column or light pilaster, as shown by the accompanying illustrations. Other characteristic features are found in the use, on the exterior, of alternating courses of white marble and green serpentine; and, in the entire exclusion from the ornamentation of intertwining ribbons, which occur elsewhere along with a great profusion of leaves and foliage.
The Cathedral of Pisa (Figure 4), with the leaning Tower and the Baptistery, furnishes a good example of these constructions. It was founded in 1063, during the pontificate of Alexander II; the Tower dates from 1123, and the Baptistery
Fig. 4. Cathedral and Leaning Tower, Pisa.
clear understanding of the art of the Lombard period in Tuscany.
Pisa, Lucca, Pistoja, Prato and Arezzo are the Tuscan cities in which this architecture appeared in its greatest perfection. It is perhaps unnecessary to remind the reader that in Tuscany — the land of Classic art — it would have been obviously impossible for the architecture of the Lombard period to develop as in the North. The Tuscan art of this time is therefore more Roman than Lombard proper. Again, Classic influence is everywhere manifest here, and with increasing force as Rome is approached. The conservative element, with a leaning toward the Classic forms of antiquity, has always predominated in Tuscany.
At the period of which we are writing, Tuscan life was calm and peaceful. Although offering the most direct route to Rome from the North, the country was but little devastated by war and remained, as it were, apart; it was the section of the peninsula that suffered least from invasions. This condition of things naturally found expression in an extremely conservative architecture. The basilica of San Miniato, at Florence, for example, which was rebuilt about the year 1000, has the organism of a basilica of the early days of Christianity. The
from 1163. There are many other very important churches in the same style, most of which I must pass over. San Frediano, at Lucca, is remarkable on account of its age — it was founded in the seventh century — and possesses characteristic gold mosaics. All of the upper part of the fagade is adorned with work of this kind which was executed early in the twelfth century. The church was rebuilt in its present form by Prior Rotone, in 1112, and consecrated in 1147. At Lucca, I cite: the Cathedral (San Martino) and San Michele—the last with a fagade rich in sculptures and mosaics. The cathedral apparently dates back to the sixth century, but it was restored about the middle of the eleventh and consecrated in 1070. The fagade was completed later by a Comacino, Guidetto of Como, who also did a great deal on the fagade of San Michele, a twelfth-century edifice, A very remarkable pulpit by the same artist in the church of San Bartolommeo at Pistoja is signed 1250. At Pistoja, I call attention also to what remains of the exterior of Sant’ Andrea, said to be the work of Gruamonte, of Pisa, or Ravenna (?), and the north side of San Giovanni Fuoricivitas (1180?) likewise attributed to Gruamonte, architect and sculptor (Figure 5). At Arezzo, the magnificent church of Santa Maria della Pieve (thirteenth century) may