Encyclopaedia Britannica, 11th Edition, "Aram, Eugene" to "Arcueil" / Volume 2, Slice 4

by Various

The earliest church now existing is that of San Frediano at Lucca, dating from the end of the 7th century. Originally it was a five-aisled basilica, with an eastern apse, but when it was included within the walls in the 11th century the apse and the entrance doorway changed places, and a fine eaves-gallery was carried round the new apse; the outer aisles were also transformed into chapels. So many of the churches in Pisa and Lucca had new fronts given to them in the 11th or 12th century, that it is interesting to find, in the church of San Pietro-in-Grado at Pisa, an example in which the external decoration with pilaster strips and arched corbel tables is retained, showing that in the 9th century, when that church was built, the Lombard style prevailed there. Other early churches are those of San Casciano (9th century), San Nicola and San Frediano (1007), all in Pisa.

Of early foundation, but probably rebuilt in the 11th century, are two interesting churches in Toscanella, Santa Maria and San Pietro; they are both basilican on plan, but the easternmost bay is twice the width of the other arches of the arcade, and is divided from the nave by a triumphal arch. In both churches the floor of the transept is raised some feet above the nave, and a crypt occupies the whole space below it.

One of the earliest and most perfect examples of this subdivision is the church of San Miniato, on a hill overlooking Florence. The church was rebuilt in 1013, and some of the Roman capitals of the earlier building are incorporated in the new one. It is divided into nave and aisles by an arcade of nine arches, and every third support consists of a compound pier with four semi-detached shafts, one of which, on each side of the nave, rises to the level of the summit of the arcade and carries a massive transverse arch to support the roof. The east end of the church, occupying the last three bays of the arcade, is raised 11 ft. above the floor of the nave, over a vaulted crypt extending the whole width of the church and carried under the eastern apse. The interior of the church, which is covered over with an open timber roof, painted in colour and gilded, is decorated with inlaid patterns of black and white marble of conventional design, and the same scheme is adopted in the main façade, enriching the panels of the blind arcade on the lower storey, and above an extremely classic design of Corinthian pilasters, entablature and pediment.

As none of the façades of the Pisan churches was built before the middle of the 11th century, it is possible that Buschetto, the architect of the cathedral of Pisa, may have profited by the scheme suggested in the lower storey of San Miniato; if so he departed from its classic proportions. There are seven blind arcades in the lower storey of the Pisan cathedral, the arcades are loftier, and the position of the side doors which open into the inner aisle on each side is of much better effect. The cathedral was begun in 1063, the year following the brilliant capture of Palermo by the Pisans, when they returned in triumph with immense spoils. In plan it consists of a Latin cross, with double aisles on either side of the nave extending to the east end, a central apse, transepts with single aisles on each side, and north and south transepted apses (fig. 38). The nave arcade, with its Corinthian capitals and monolith stone columns, is of exceptional boldness, and as it is carried across the transept up to the east end (a length of 320 ft.) it forms a continuous line greater than that in any other cathedral. The crossing is covered by a dome, elliptical on plan, being from east to west the length of the transept and aisles. The result is unfortunate, and detracts both externally and internally from its beauty, otherwise the exterior decoration, which must have been schemed out in its entirety from the beginning (with the exception of the dome, which is of later design), has the most satisfactory and pleasing effect. The lofty blind arcade of the lower storey and the open gallery above on the façade (the latter represented by a blind arcade), are carried round the whole building, and the horizontal lines of the galleries of the upper storeys accord with the roofs of the aisles and nave respectively and the blind arcade of the clerestory. The walls are faced within and without with white and grey marble, and the combination of sculpture and inlay which enriches the arcades of the façades gives an additional attraction to the building. The cathedral is sometimes quoted as Byzantine in style, but its plan and design are of widely different character from those of any building found in the East, and the mosaics, which constitute the finest decorative element in that style, were not added till the 14th century, and formed no part of the architect Buschetto’s scheme.

The Baptistery, begun in 1153, was not completed till towards the close of the 13th century, when important alterations were made in the design to bring it into accordance with the new Gothic style. The crocketed gables, and the upper gallery, substituted for the arcades, which followed on the lines of those in the cathedral, have taken away the quiet repose found in the latter; the lower storey, however, with its lofty blind arcades, similar to those of the cathedral, and the principal doorway, are of great beauty. The central area of the baptistery, which is surrounded by aisles and triforium gallery, is covered by a conical dome; internally as well as externally this can never have been a beautiful feature, and the additions of the 13th century have made it one of the ugliest roofs in existence.

Fig. 38. PISA.

The Campanile or leaning tower was begun in 1174. Owing, however, to the treacherous nature of the ground, the piles driven in to support the tower gave way on the south side, so that, when only 35 ft. above the ground, a settlement was noticed, and slight additions in height were made from time to time in order to obtain a horizontal level for the stone courses; but this was without avail, and on the completion of the third gallery above the ground storey the work was suspended for many years. In 1350 it was recommenced, three more gallery storeys were added, and the upper or belfry stage was set back in the inner wall. The tower is now 178 ft. high, and overhangs nearly 14 ft. on the south side; its design is made to harmonize with the cathedral, but shows much less refinement and grace.

The Campo Santo, an immense rectangular court 350 ft. long by 70 ft. wide, surrounded by a cloister 35 ft. wide, was begun in 1280; the details are refined, but the poverty in the design of the tracery with which the arcades were fitted in at a much later date detracts from its interest, which is now mainly concerned with the beautiful frescoes which decorate its walls.

As might have been expected, the cathedral of Pisa set the model not only for the restoration of existing churches but also for new ones, in Pisa itself and also at Lucca, Pistoia and Prato. In Pisa, the church of San Paolo a Ripa d’Arno was rebuilt about 1060, possibly by the architect of the cathedral; San Pietro-in-Vincoli and San Nicola date from the early years of the 12th century. At Lucca the churches of Santa Giuha, San Giusto, San Martino, San Michele, and the restored front of Santa Maria Fuorcivitas, are the principal examples in which the Pisan cathedral has suggested the design, and at Pistoia we can point to the cathedral, Sant’ Andrea, San Pietro and San Giovanni Fuorcivitas, the latter with a south wall decorated with three stages of blind arcades of great richness. The cathedral of Lucca was either restored or rebuilt at the beginning of the 14th century, and has a distinctly Gothic effect. The lower storey of the façade presents the unusual feature of an open porch across the whole front with three great archways. This porch with the three galleries above was added to the cathedral at the beginning of the 13th century.