[303]. The four square towers of San Lorenzo, Milan, and the circular campanile by the side of the cathedral of Ravenna, are the earliest examples known, the latter dating from the commencement of the 5th century.
[304]. [The tower of St. Satiro at Milan (879 A.D.), is considered by Cattaneo to be the most ancient campanile known in which the wall surface is broken up with flat pilasters or vertical bands in relief, and divided into storeys by horizontal string courses, with ranges of small blind arches below, carried on corbels, and may be regarded as the prototype of the most characteristic Lombard towers.—Ed.]
[305]. ‘History of Medieval Art,’ by Dr. F. M. Reber, translated by J. T. Clarke. New York, 1887.
[306]. ‘Dalmatia, the Quarnero and Istria,’ by T. G. Jackson, A.R.A. Oxford, 1887.
[307]. Schultz, ‘Denkmäler der Kunst der Mittelalters in Unter-Italien.’ Folio, 1860.
[308]. The polygonal form given to the apse externally shows the direct influence of Byzantine art.
[309]. The cornice projects 1 ft. 10 in., and consequently overhangs the base by 13 ft.
[310]. The present cathedral is only a portion, viz. the transept of a much vaster edifice which was never completed; but the beautiful unfinished south front and portions of the gigantic nave and aisles still exist on the western side of the present cathedral, and the drawings of it are preserved in the archives of the Duomo.
[311]. [Since this was written the façade has been completed to harmonize with the rest, but not in accordance with the original design, if we may judge by the painting in Sta. Maria Novella, which shows side gablets similar to those of the cathedral of Siena.—Ed.]
[312]. If we may trust Wiebeking, the first two bays of the nave from the front were vaulted in 1588, but the work was suspended till 1647, and completed only in 1659. Yet no difference can be perceived in the details of the design.