Identifier: historyofarchit02cumm (find matches)
Title: A history of architecture in Italy from the time of Constantine to the dawn of the renaissance
Year: 1901 (1900s)
Authors: Cummings, Charles Amos, 1833-1905
Subjects: Architecture
Publisher: Boston, New York, Houghton Mifflin and company
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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he three older galleries are coveredwith barrel vaults; the fourth is groined. The church, which meas-ures about two hundred and ten feet in its total length, and ninety-four feet across the transept, is cruciform, with a lofty nave andvery low aisles, each in seven vaulted bays, a square projectingchoir of two bays, flanked by two square chapels on either side,opening from the transept, — the characteristic arrangement of theCistercian churches everywhere. The transepts are each in twobays like those of the nave and choir, and the crossing is covered byan octagonal lantern or tower in two stories with cupola. (Fig. 329.) THE MONASTERIES 143 The piers of the nave arcades are square, with simple, engaged columnson three sides carrying the arches of the nave and the transversearch of the aisle, while on the fourth side, — that next the nave, — apilaster rises to the spring of the nave vault, bearing on its face anengaged vaulting shaft, which springs not from the floor, but from a
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Fig-. 331. Fossanova. Exterior of Church. corbel some eight feet above it, and rises to take the spring of thetransverse arch of the nave. There are no capitals except those ofthe engaged shafts, which are well developed, with strong knobs atthe angles, supporting the high abacus, and with simple foliage inlow relief. Everything about this interior is marked by the strictestsimplicity and reserve; the mouldings of the imposts and strings aresmall and severe, while the arches throughout are unmoulded. Thevaults are without ribs, except in the apse and under the lantern.(Fig. 330.) The exterior of the church adheres less closely than the interior tothe French traditions, yet it has many points of resemblance to thecontemporary Cistercian churches of Central France. Its fine west-ern front follows the outline of the nave and aisles, and suffers fromthe extreme lowness of the latter. The central doorway is of unus-ual richness, with deeply splayed jambs having three orders of col-umns car

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