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Architectural CharactersCentral Italy

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Italians were slow in adopting new system of construction and

preferred to concentrate on beauty and delicacy of ornamental

detail.

The most

pronounced feature of

the facade were the

ornamental wallpassage, which rose

one above the other.

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Use of marble faced walls distinguishes Romanesque arch in

Italy from that of the rest of W. Europe.

Churches had simple open timber roofs ornamented with bright

colouring.

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Arcades are universal,

door and windows are small and

unimportant with jambs in rectangular

recesses (or)

orders filled in

with small shafts

rounded with semi

circular arches

in contrast to the

classical architrave.

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The choir was raised above a crypt reached by steps from the

nave.

Naves were divided from aisles by antique columns.

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A number of columns from ancient Roman temples were used in

the new churches whichretarded the development of novel types

of columns which were introduced in Remote parts from Rome.

Classical precedent in ornamentation was followed so as to suit

the old fragments incorporated in the new buildings, and rough

variations of the Roman acanthus scroll are frequent.

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In all parts of Italy, Christian symbolism during this period entered

into decorative carving and mosaics.

The monogram of Christ, the emblems of evangelists and

saints and the whole system of symbolism represented by

birds, trees, fishes and animals are all worked into the

decorative scheme.

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Byzantine influence was strong in

Ravenna and Pisa, which developed

their own individual styles.

Campanili or bell towers which

seem to have originated in the 6th

century which gives a special character

to ecclesiastical architecture.

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Architectural CharactersNorthern Italy

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The principal innovations are rib vault,

exterior wall passages and the arched

corbel table.

The gable is characteristically outlined

with arched corbel tables and there are

arcades round the apse under the eaves.

The churches are basilican in type, but naves and side aisles are

vaulted and have external wooden roofs.

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Aisles are 2 storeys in height,

thick walls between the side

chapels act as buttresses to resist

the pressure of the vaults.

The flat entrance facade stretch across the whole church to mark

the external division of nave and aisles.

http://www.sacred-destinations.com/england/exeter-cathedral-pictures/slides/h-5800.htm

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The general character becomes less refined asstone and bricks

are used instead of marbleand ornamentation slightly deviated from

the classical style.

Como, a privileged guild group built many churches with

characteristic decoration not only in N. Italy but also in other parts of

Italy.

There was a central projecting porch with columns and a wheel

window above to light the nave.

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There were many baptisteries usually octagonal or circular, which

are connected to the cathedral by an atrium.

Wall passages round such features as apses and octagonal

lanterns give great charm to the buildings externally.

Towers are straight shafts, often detached, without buttresses

spires.

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The composition of the facade

usually relies upon the simple

pilaster strip decoration running

from the ground and ending in

arched corbel table.

Internally sturdy piers faced with attached half columns took the

place of the classical column to provide support for the heavy stone

vaulting.

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The half columns on the side

towards the nave were carried

up as vaulting shafts and this

was the beginning of a system

which was destined in the

gothic period to transform the

shape of piers.

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Roughly carved grotesques of men and beasts and vigorous

hunting scenes and incidents of daily life.

Crouched beasts supporting columns of

projecting porches and interior furnishings such

asbishopsthrones and fonts and corbel tables.

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The architectural character can be traced through Byzantine,

Muslim and Norman ruleand each successive period carried with

something from the past.

Byzantine Influence is evident in the mosaic decoration of

interiorsand predominates in the plans of such buildings, and the

dome supported on four columns covers the square central space.

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Muslim influence is apparent in the application of coloured

marbles in stripped patterns and in the use of stilted pointed

arches.

Norman influence in seen in the planning and construction of

cathedrals which has a cruciform plan decorated with mosaics

and has a nave arcade of stilted pointed arches.

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In S.Italy, domes rather than vaults were used and in Sicily under

Muslim influence, timber roofs with stalactite ceiling rich in design and

colour were used.

Lateral walls decorated with flat pilaster strips connected

horizontally by arched corbel tables.

Wheel windows made of elaborately pierced sheets of marble

were used.

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There were greater variety in columns, and capitals because of the

successive introduction of Byzantine, Muslim and Norman Influence.

(Coupled columns)

Elaborately modeled bronze outer doors are characteristics of

S. Italy.

Coloured mosaics add to the beauty of the interior and the

columns used in geometric designs was more in the internal

decoration of S. Italian especially the Sicilian churches.