By John White
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Extra info for Art and Architecture in Italy, 1250 to 1400
Sample text
The massive screen detailing derive directly faijade, the from the Lom- bard Romanesque, but the repetition of the pointed arches and the general complexity of the articulation add their the formula of St Mark's axis overshadowed by is own distinctive by flavour. In plan (Figure 7) the extension the addition of a further a completely different system and by the incorporation of Figure a choir 7. Padua, dome Antonio, begun c. of one end of the main of support and and ambulatory and S. at a ring aisle arrangement, of radiating chapels.
1284. Despite the a plan reflecting S. i° Curiously enough, the even more extreme transition from an original Romanesque main body to a late-thirteenth- or early-fourteenth-century Gothic choir with five radiating chapels, seen in the Duomo at Barletta, 13 is to some extent more memorable PART one: architecture 1250-1300 more because as high strange. The four narrow bays of a Romanesque nave long are connected to the wide forms of the as it is new that seems ahnost by two more bays of a \'irtually unmodulated choir which open out diagonally.
Domenico of the kind of architectural adventurousness that achieved a foretaste maturity in the cathedral. ) high. feet (19 as the like the chapels. Beneath this roof the nave arcading must outworks or advance guard of the enclosing wall, creating border to the unimpeded volume of the nave. as If, any possibiUty of treating the built along the side-walls, would have disappeared and a series have been created. Such an unusual design is of unenclosed, is a likely, altars aisles as flanking vestigial chapels would particularly interesting thirty years before the seemingly original invention of the absidioles that give a three-dimensional, altar- enclosing flexion to the solid side-walls of the S.