Identifier: historyofarchit01cumm (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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)eared, but the lions wliirlisu;)i)orte(l it are still i)rcserve(l at the entrance of the crypt. InFig. 187, one of them is shown, liolding down a monstrous <;riilin witha birds beak, and ending foul in many a scaly fold, with a hea<lwhich turns and bites the lion in the haunch. Even the bases of columns are not deprived of their share of allthis wealth of sculpture. The angle of the plinth bears freciucntly,as in the Ciothic of Venice and of Northern Europe, a spur whichjoins it with the roll of the base ; but in these the spur takes almostinvariably the form of a single leaf of more or less simjile modelling.
Text Appearing After Image:
Mm Figf. 138. Pavia. Base from S. Michele. In the Lombard churches, it was in its simplest forms an undevelopedbeak or claw, which later became more definite and naturalistic, or 1 And at Ferrara in the great doorway of the cathedral, deeply splayed and richlyornamented, the outer columns rest on the bowed head and shoulders of a human fignre,seated on a sort of chair, which in its turn rests on the back of a crouching lion. Mothes,p. 418. 1D8 ARCHITECTURE IN ITALY gave place to the head of some nameless beast, while in occasionalinstances the sculpture was not confined to the angle of the plintli,but spread over its whole breadth, as in Fig. 138, from San ^licheleat Pa via, where two nondescri))t reptiles lie along the plinth withtheir heads at the angles and their thin tails intertwining in themiddle. The Lombard sculpture was carried north of the Alps, and is tobe met with in many of the doorways of churches in Southern France.In Toulouse (pier cap in Museum) and Moissac (cloister

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