Identifier: historyofarchit02cumm (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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
uilding. Ofthe Gothic palaces socalled, nearly all areof the fourteenth cen-tury. There is littleof the Gothic charac-ter about them exceptthe pointed archesand the tracery oftheir fagades. Thesame simple princi-ples of compositionwhich we traced inthe Byzantine palacefronts of the eleventhcentury are to be seenin the Gothic palacesof the fourteenth, —the same symmetricaldivision into centreand wings by meanssolely of the disposi-tion and treatmentof the openings; thesame groups ofarched windows above in the middle division flanked by singlewindows on the sides. Only here the window arch is pointed andcusped, often of ogee form and terminating in a finial, and apt inthe richer examples to be surmounted by flowing tracery. Thegroup of four or six windows forming the centre of the pianonobile is often repeated with variations of detail in the third story.Balconies are frequent, and are for the most part extremely elegant,the balusters having commonly the form of small colonnettes with
Text Appearing After Image:
Fig. 412. Siena. Palazzo Tolomei. CIVIL ARCHITECTURE 257 leafed capitals, joined by small arches of the same character withthe larger arches of the faQade, and the angle-posts often surmountedby quaint little beasts. One of the most simple and elegant of these palaces is the Palazzodegii Ambasciatori. It has three stories, of which the second — thepiano nobile — has a pergolo of four cusped and pointed arches witha range of quatrefoils in the spandrils, the whole enclosed in a squareformed by the thin Venetian dentil or billet moulding. The arcadeis repeated in the third story, but without the quatrefoils. Twonarrow single windows on either side the central arcade are similarlytreated. (Fig. 413.)

Note About Images