Identifier: byzantineromanes131jack (find matches)
Title: Byzantine and Romanesque architecture
Year: 1913 (1910s)
Authors: Jackson, Thomas Graham, Sir, 1835-1924
Subjects: Architecture, Byzantine Architecture, Romanesque
Publisher: Cambridge (Eng.) University press
Contributing Library: Wellesley College Library
Digitizing Sponsor: Boston Library Consortium Member Libraries

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rated withlofty blank arcading, in the head of which are squaresset diamond-wise and filled with mosaic of marble.Above that, except round the apse and in the west front,the wall is ornamented with flat pilasters carrying theeaves of the triforium roof. Here too are diamond panelsof mosaic in the head of each compartment. But in theapse and the west front these pilasters are exchanged forarcaded galleries with passages behind the columns, ofwhich there are four tiers in the front and two round theapse. There is much to study in this western fa9ade, whichcombines apparent symmetry with actual variety. Ruskinin his Seven Lamps, dwells on this : on the interestgiven by the slight inequalities in width of the sevenground floor arches ; on the narrowing of the intervals inthe wedge-shaped ends of the third storey so that thecolumns are not over those below, but have six intervalsto their five ; on the change in the fourth storey whichhas a column in the middle, and eight openings over nine
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CH. xvi) PISA 245 in the third ; on the narrowing of the eight openings in Thethe top storey of all, leaving room for an angelic figure ateach end ; and above all on the variety in the height ofthe several storeys, and their subordination to the greatarcade of the ground storey. All these varieties, thoughthey do not challenge the eye, have an insensible influenceand make a lively and satisfactory impression that perfectregularity would never effect. The spoils of Palermo did not sufifice to finish so greata work, which came to a standstill in 1095, ^^^ ^^scompleted with the help of a subsidy from the Emperor atConstantinople. Pisa like Venice and Amalfi seems tohave maintained relations with the Eastern Empire evenafter the fall of the Exarchate. But it would appear thatin Italy even in the nth century Constantinople wasstill regarded as the centre of art. Desiderius, Abbot ofMonte Cassino, when re-building his abbey in 1065, sentto Constantinople to engage artists, whence came thesc

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