. Architettura medievale, le sue origini e sviluppo, con gli elenchi dei monumenti e delle bibliografie. Jumieges seguita,- ancora, quando tutto è stato detto, l'originalità di questo design,e l'audacia della sua esecuzione rimangono indiscutibili. Esso seemsas se il Normanno costruttori avevano tutti in una volta a conoscenza di theirarchitectural genius e aveva creato a un soffio di un nuovo stile andconsistent. Che i costruttori inesperti, impresa un progetto in modo am-bitious come la costruzione di un monumento come Jumieges, shouldhave cercato in lungo e in largo per i precedenti esempi e isintrinsically probabile. Considerando pertanto

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. Medieval architecture, its origins and development, with lists of monuments and bibliographies. Jumieges followed, — yet, when all has been said, the originality of this design, and the daring of its execution remain indisputable. It seemsas if the Norman builders had all at once become aware of theirarchitectural genius, and had created at a breath a new andconsistent style. That inexperienced builders, undertaking a project so am-bitious as the construction of a monument like Jumieges, shouldhave sought far and wide for precedents and examples isintrinsically probable. Considering, therefore, that certainundoubtedly Lombard features are found in this design, it seemsaltogether probable that the edifice was more or less directlyderived from Lombard sources. However, this theory of Lom-bard influence at Jumieges, first advanced by M. Ruprich-Robert, has been seriously disputed. M. Ruprich-Robert based hisargument on the assumption that the nave of S. Ambrogio ofINIilan dated from the IX century. This nave is now knownto be contemporary with, or even later than, Jumieges. Con- 254. III. 1-28. — Abbave-aux-Dames of Caen. Interior of Xave LOMBARD INFLUENCE sequently if there be direct influence between the two, it is asreasonable to suppose that S. Ambrogio was derived fromJumieges, as that Jumieges was derived from S. Ambrogio.This view has been forcefully presented by no less an authoritythan M. Lefevre-Pontalis, and has been followed by most ofthe French archieologists. M. Courajod and Mr. Moore, how-ever, courageously continued to support the thesis of M. Ruprich-Robert. This position seems to me far stronger than thatassumed by M. Lefevre-Pontalis. S. Ambrogio is not an iso-lated monument, as I have tried to show in a previous chapter, and Lombard architecture consists of much more than this oneexample. S. Ambrogio is rather the culmination of a longseries of monuments (some of which, indeed, may be lost to us), which show a perfectly logical and consecutive deve

Parole chiave associate all'immagine

• bookcentury1900
• bookdecad
• booksubjectarchitecture
• bookyear1912