LOMBARD ART. The style which was used by the Lombard invaders and colonists of the rth of Italy. from the seventh century till it was superseded by the importation of the Pointed style from France in the beginning of the thirteenth century. It is a special national phase of the general style called Romanesque (q.v.), like the Norman (q.v.). It prevailed not merely in Lombardy, but in other parts of Italy partly colonized by the Lombards or influenced by them, especially in southern parts, such as Apulia. The architecture i4 heavy in proportions and de tail. dark and plain in tone, using usually local stone and sometimes brick, contributing more than any other Italian school to the use of vault ing in church interiors. Milan and Pavia were the centre of one branch of the school; Parma, Piacenza, and Modena of a second; Verona of a third; Como of a fourth; while such cities as Bologna, Crema, Cremona, Novara, Brescia, and Bergamo show local variations of the Milanese variety. The style is good in construction and composition, but is deficient in architectural de tail and decoration, except in the Apulian branch, which is exceedingly rich. In Apulia the cities
of Bari, Bitonto, Biteto, and Altamura contain the most important churches. Sculpture, though exceedingly crude in the \lilanese-Paduan school, was fairly good and abundant in the Veronese and Parmese branches, as well as in Apulia, but painting was neither a favorite nor a well-exe cuted form of Lombard art, in comparison with the Tuscan, Roman. and Southern schools of Italian art. The Lombards had no color sense.
IlinuoGnAnnv. The largest work on the sub ject is M. F. Dartein, Architecture lambarde (Paris, 1865-82). though this can be supple mented by Gruner. Terracotta Architecture of North Italy ( London, 1567) ; and by Street, Brick and Marble in the North of Italy (London, 1874). The industrial arts are described in Baron de Bays, Industric louqobarde (Paris, ]SSS) : Mayer, Lombardische DcnIini1cr des Lip Jahrhunderts (Stuttgart, 1893 ) .