Signor Odorici has exemplified the church in its Lombard form to have been quadrilateral, divided by two peristyles of eight columns each, into a nave and two aisles (or three naves, as Italian architects say). The arches are a tutto sesto (semi-circular), and support walls bordered with a simple string course. There was originally a semi-circular apse or tribune, which was probably flanked by two smaller ones. The white marble columns are, or were, of different proportions, the capitals being sculptured, some in marble and some in arenaria.[44]
The mixture of Roman and Byzantine types in these is taken by Ricci[45] to be a proof of its really dating from the time of Desiderius, when the two styles got confused. Some capitals are entirely of Byzantine design, others imitate the Corinthian. On one is a mediæval sculpture of the martyrdom of Santa Giulia, on another is the effigy of Queen Ansa. These two are doubtless Comacine work of the eighth century.
Up on the slope of Monte Civate near Lake Annone, an hour's climb from the village of Civate, is an ancient Lombard church dedicated to St. Peter, which is almost intact. It is said to have been built as a thank-offering by King Desiderius. His son Adelgiso was chasing a wild boar on this mountain, and suddenly became blind. The father vowed that if he recovered, a church to St. Peter should be built on the spot. Adelgiso soon after recovered his eyesight, and Desiderius was faithful to his oath. An ancient MS. said to be contemporary,[46] minutely describes the ceremonies, when the king with all his royal pageantry came up the mountain to lay the first stone. The plan is similar to most other Lombard churches of its era. A great flight of twenty-seven steps leads up to the portico, beneath which is the principal door. This, however, does not lead immediately to the church, but to a covered atrium, on the lateral walls of which are sculptured in relief, hippogriffs with triple tails, i.e. threefold mysteries. The entrance into the nave has two spiral columns,[47] an unusual form for the Comacines of that era. There is a great peculiarity in the position of the altar, which is a low table without a reredos, standing on the tribune, to which five steps give access. The palio faces the choir, so that the priest when celebrating would confront the people, and face the east.[48] It would be a question for archæologists whether, considering the reverse orientalizing of Lombard churches, in comparison to later ones, the front of the raised tribune was not the usual position of their altars. This is the only church which seems enough intact, to judge by. The altar was placed beneath a canopy supported on four slight columns, whose sculptured capitals show the symbolic animals of the four Evangelists. The canopy has rude bas-reliefs of the Saviour and apostles, the crucifixion and resurrection. There are remains of similar altars at Corneto Tarquinii in the south, and at S. Piero in Grado near Pisa. The rest of the building is entirely unadorned, excepting by some carved capitals of columns in the crypt.
The church-building days of King Desiderius were now drawing to a close. He thought he had strengthened his seat on the throne by alliances with the all-powerful Charlemagne of France, whose brother Carloman married Desiderius' daughter Gilberga; and some historians assert that his son Adelchi espoused Gisla, the sister of Charlemagne. Here we have the link connecting the Comacine Masters under the Lombard rule, with Charlemagne, through whose patronage they spread northward, developing the Gothic architecture. Politically the link was not a strong one. In 770, Charlemagne having been menaced by Pope Stephen III., the protector of Desiderius, revenged himself by causing Carloman to repudiate Gilberga and send her back to her father with her two sons. Carloman died in 771, and Pope Stephen III. did not live long after him, for in 772 Charlemagne entered into a league with the new Pope Adrian I. to dispossess Desiderius of his kingdom. This unkind scheme was by Pope Adrian dignified by the name of a "restitution to the Holy See."
The famous unequal fight at Pavia, between Desiderius and the multitudinous hosts of France, is well known. Desiderius was vanquished, and the Longobardic supremacy of two centuries was over.
Charlemagne vaunted himself in having released Italy from the Longobardic yoke, but whether his own yoke were lighter is an open question. In any case there was no "restitution to the Holy See." The Lombard cities were no more given to the Pope by Charlemagne, than they had been by Desiderius. On the contrary, he crowned himself Rex Francorum et Longobardorum, and his son Pepin inherited the same title.
With him begins the next era in the development of Comacine art.
CHAPTER III
CIVIL ARCHITECTURE UNDER THE LONGOBARDS
Ecclesiastical as was the work of the guild, the Comacine of Lombard times was nevertheless a fine civil architect. He worked as willingly for the prince in palace-building and for the country in fortification, as for the Church in building monasteries and cathedrals. Indeed war of all sorts bore such a large proportion in the life of the Middle Ages that the fortress was of more importance than the home.
In civil architecture the Magistri Comacini of the seventh and eighth centuries followed much the same style as in their ecclesiastical buildings, of course adapting it to its different uses. In the Lombard palace we find on the upper floor the usual double-light windows, with the two round arches and dividing column enclosed in a larger arch of masonry.