Art and Architecture in Italy, 1250 to 1400 by John White
By John White
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Additional info for Art and Architecture in Italy, 1250 to 1400
Ings, means The very smoothness of aU such that the flat serena. Only colour from the walls of which they form minimum of mould- elements, with their surfaces themselves are energized. In comparison, the Francesco at Bologna assumes the air differen- the lower nave of S. of a rhythmically patterned, rectangular volume. In S. Maria Novella rhythmic volumes link into a richly articulated unity in which the smoothness of aU surfaces and the lack of sharply pointed forms ensure that movement is combined with calm in a swift-flowing stillness.
Fortunato also church. Then ing that at Umbrian Romanesque reflect the strong traditions of the vaidted S. hall again, the rib-forms and side-wall and passage treatment recall S. Fran- cesco at Assisi ^vith matched of satisfying particular Franciscan needs, the architectural solutions Apart from its Angevin ancestry, and the design of certain doorways can be Fossanova. Nevertheless, the main source of inspiration seems to be a build- may well be the work of an Angevin The essential tury choir of Poitiers Cathedral.
This further stresses the which the arches, walls, and windows blend into to a sudden stop immediately width and flamess of The whole effect is no in less emphatic than the one of calm and rationality verticals of their individual dcfmition and distinction of 'supporting' and 'supported parts, and ' of formal detail ; mem- and simple colour contrast. Clear a sharp-edged clarity the retention of the structural elements of Gothic architecture and a THE FRANCISCAN AND DOMINICAN EXPANSION positive exploitation of their necessary resolution into the simple best suited to a brick construction; such set the pattern in Bologna for two hundred S.