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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ...compartments, in the flat, pilaster-like form of the bearing member of the transverse rib of the vaulting, and in the section of that rib itself in the treatment of the banded imposts, which do duty as capitals at the level of the springing of the pier arches, but which are wholly different from pure Gothic capitals, and in their successive ranges of acanthus-like leaves recall the Corinthian of older days. Then, by repetition of the same class of enriched banded imposts at the springing of the vaulting ribs, the effect given is of a secondary stage of classic pilasters, placed upon, though without intervening base, the lower impost of the pier of the nave arcade. Again, in the plain, oblong-sectioned pier of division between the aisle and the chapels, with its quasi-cornice as imposts, and absence of edge-moulding to those arches, it is as if the architect had forgotten for the nonce the role he had been striving to play, and had in forgetfulness relapsed to the classic character with which he was really more familiar. There is no straining after height, no feeling of growth in the structure, no subdivision into ascending stages of arcade, triforium and clerestory, no contrast by string-courses to enhance the value of what height there is, no delicate proportioning of the several capitals to the scale of the members they have to support. But, in lieu thereof, we perceive a contentment with the breadth of the separate features which gives a painfully disconnected character to the whole. The glories of St. Petronio at Bologna are, unquestionably, its stained glass and the screens of varied style which those twentytwo chapels enclose. The former is invested with a high interest from the very fine examples of the several periods which it...