[293]. Frederick Von Osten, ‘Bauwerke in der Lombardei.’ Darmstadt, 1852.
[294]. By an oversight of the engraver, the vault of the nave, which ought to be made hexapartite, is drawn as quadripartite. [The nave was so completely restored in the 14th century as to render doubtful the original existence of a vault.—Ed.]
[295]. Étude de l’Architecture Lombarde,’ par F. de Dartein. Paris, 1878.
[296]. These are incorrectly shown on woodcut. The central pier is nearly 4 feet wide and carried a transverse rib of the same size and of two orders.
[297]. Ferrario, ‘Monumenti Sacri e Profani dell’ I. R. Basilica di S. Ambrogio,’ Milan, 1824.
[298]. “Quid dicamus columnarum junceam proceritatem? Moles illas sublimissimas quasi quibusdam erectis hastilibus contineri substantiæ qualitate concavis canalibus excavatas vel magis ipsas æstimes esse transfusas. Ceris judices factum quod metallis durissimis videas expolitum. Marmorum juncturas venas dicas esse genitales, ubi dum falluntur oculi laus probatur crevisse miraculis.” In the above, metallum does not seem to mean metal as we now use the word, but any hard substance dug out of the ground. (Cassiodorus, Variorum, lib. vii. ch. 15.)
[299]. See vol. i. p. 372.
[300]. ‘The Land of Moab,’ by Dr. Tristram (Murray, 1873), pp. 376 et seqq. [The small triangular marble panels referred to in Murano are of a very elementary character in their carving, and have scarcely the importance attached to them by Mr. Fergusson. Besides, the same wall decoration in brickwork is found in the apse of St. Fosca, Torcello (c. 1008), where, however, the triangular recesses are simply covered with stucco and painted; being closer to the eye in Murano, they filled the spaces with incised marble slabs: in other words, it seems more probable that the slabs were made for the triangular panels than the converse, which is suggested by Mr. Fergusson.—Ed.]
[301]. The typical example of this class is the San Giorgio at Venice, though it is not by any means the one most like St. Pietro; many attempts were made before it became so essentially classical as this (see Woodcut No. 39, Vol. I. in the ‘History of Modern Architecture’).
[302]. From the boldness of the construction, M. Cattaneo is induced to place the erection of the building at the end of the 11th or beginning of the 12th century.