S. Geron's church presents a somewhat curious plan, con sisting of a vast circular vestibule, with a rectangular nave behind it, terminating in a semicircular apse, on each side, and a little in front of which is a campanile. Above the circle rises an octagonal cupola, the supporting pillars of which are prolonged upwards in ribs, which, centering at the summit, meet at one point. Opposite the entrance, in the interior, are steps leading to the church, at the further end of which are steps leading to the apse or altar. In the bap tistery and vestry are steps leading to the area between the two high square towers, and to the roof of the apse, over the semicircular east end, which is belted round, as well as the cupola, by galleries with small arches, and pillars on a panelled balustrade. The entrance-door at the vestibule has a square lintel, low pediment, and pointed arch, which are elegant, and the crypts show some remains of handsome mosaics ; but the porphyry columns were carried away by the French. Several of the finishings in the interior are pointed.
The Cathedral of Pisa is a very remarkable building, erected during the latter half of the eleventh century ; and although it presents to us features of the Lombard style on the exterior, in the interior the details approach more nearly to the I Zoman, the columns being all simple, and finished with Corinthian caps ; the style, too, is throughout the interior more simple than that of Lombardie- buildings in general. The plan is that of a Latin cross, having two aisles on each side of the nave transepts, and a cupola over the intersection. The colonnade on each side of the nave consists of 12 columns of a single block of marble, and of 24 feet 10 inches in height, and 2 feet 3 inehcs in diameter, with Corinthian capitals skilfully worked. The total height, including capi tals and base, is 30 feet 10 inches. An architrave is carried all along the nave above the arches, which spring from the capitals, and above this is a triforium consisting of a series of arcades, each arch containing two arched apertures divided by a shaft with Corinthian capital. Above the tritbrinm is a clere-story of semicircular-headed windows. The four aisles have also Corinthian columns, but they are much smaller, and raised on plinths. The walls are composed ofalternate courses of red and white marble. The width of nave and four aisles is 100 feet, of the nave 41 feet, the total internal length 311 feet, and the width across the transepts 237 feet 4 inches ; the width of the transepts, with its aisles, 58 feet, height of nave 91 feet, of transept 84, of aisles 35 feet. In the centre of the nave are four piers, from which rise four large arches supporting the elliptical cupola.
On the exterior, the entire church is raised upon a series of steps which gives increased grandeur to its magnificent elevation. The width of the western façade is no less than 110 feet, and its height 112 feet. It comprises five stories, of which the first or lowermost consists of seven arches supported by six Corinthian columns and two pilasters, the middle arch being larger than the others. There are three entrances or doorways in the central and alternate arches. The second story contains twenty-one arches supported by twenty columns and two pilasters. At the third story the façade contracts where. the two aisles finish, and form two lateral inclined planes, whence towards the centre are columns with arthes on them as below, but the columns on each side under the inclined planes gradually diminish in height. The tburth story is contracted, and contains only eight arches similar to those below. The fifth forms the pediment, and consists likewise of eight arches, the columns which support them gradually diminishing in height as they recede from the centre. The sides all round the building have two "s
of pilasters one above the other. The roof of the nave is supported externally by a wall decorated with columns and arches ; and the drum of the cupola is enriched with eighty eight columns and arches, each of which is surmounted by a pediment.
The Duomo Modena is a good specimen of the Lombard style, and belongs to the close of the 11th century. "External arcades ornament both the west end and the great semi circular apse. In the interior, monsters and grotesque images are still retained in the capitals of some of the pillars. But a feature which is not found in old Lombard churches, may be remarked here, in a large projecting porch two stories in height, which advances before the principal entrance ; and in the lions, on the backs of which the pillars of the porch repose. Though projecting porches were an essential part of the primitive churches, they seem to have been abandoned under the Lombard dynasty, and not to have been resumed till the Ilth century, when they became universal. The lions are symbolical. They were intended to represent the strength and vigilance of the church. At a later period, the animals which were introduced in the porches, often represented the arms of the state to which the budding belonged." "On either side of the nave of this cathedral are galleries. the chancel there is a lofty crypt. the chancel being approached by several steps, as at San Aliniato and other churches." The campanile is 315 feet high, and is. one of the four towers of which the north of Italy has reason to be proud. The date is uncertain, but the tower must have been com plete in the early part of the 13th century. The upper is of later date.
S. Zenon', Verona, was finished in the latterpart of the .12th century, and forms a fair specimen of the style. The plan is that of a Latin basilica, without transepts. The walls are constructed of alternate courses of marble and brick, but the facade is entirely of marble. The entire face of the building is divided vertically into bays by long strips or pilasters, and horizontally by arched corbel-tables and arcades. The facade is remarkable for containing one of the earliest specimens of wheel-windows, as also fiir a very rich projecting porch, profusely decorated with sculpture. There is a good bas-relief within the portal over the door. The pillars as usual rest on the backs of lions, In the interior the nave is divided from the aisles by an arcade. each bay containing two arches supported by a central single shaft. and by compound shafts at the sides, so that pillars and piers alternate in the length of the arcade; the capitals of the single shafts still retain the monstrous imagery of an earlier period. There is no triforimn, and the clerestory is lighted by small windows. There is a campanile, of somewhat later date.
San Michele, Lucca, is a very rich example of the Lom bard style, but although the building itself is of early date, the enrichments are much later. The principal feature is the enriched facade which was added in i 1 t-_8 by Guidetto. It is somewhat similar to the facade of Pisa cathedral, but of a more florid description. The lower story is ornamented with attached arcades, and above this are four tiers of galleries with detached arcades, the shafts, capitals. archivolts, and spandrels being enriched with elaborate carving. In the third gallery is a rose window. The sides of the building contain two tiers of arcades, of which the upper one was added at a late period, and is of very good design.
For further particulars on this subject. we must refer .to SAXON, NORMAN, and ROMANESQUE ARCHITECTURE.