. Une histoire de l'architecture en Italie de l'époque de Constantin à l'aube de la renaissance. dows du transept se termine et aretall pointedliohts large, avec trois et un laro^e rose dans le chef de l'arche. L'effet de charme de cette cause est e résultats t très largement au thepainting de toutes les surfaces inrich et couleurs variées, le rez-de-travail qui est blanc. L'arches,qui sont en briques, sont paintedto imiter le rouge et le blanc vous-soirées, la large et plate-faces étant-décorée avec une patternof coulant le feuillage. Le mur au-dessus des arcades thenave a un double bandof décoration florale. Ofsimilar Peinture

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. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. dows of the transept ends aretall and broad, with three pointedliohts and a laro^e rose in the headof the arch. The charming effect of this in-terior is due very largely to thepainting of all the surfaces inrich and varied colors, the ground-work being white. The arches, which are of brick, are paintedto imitate red and white vous-soirs, the broad, flat soffits being-decorated with a flowing patternof foliage. The wall above thenave arcades has a double bandof floral decoration. Painting ofsimilar character covers the sur-faces of the vaulting. The pave-ment is wholly composed of asimple but extremely effectiveinlay of pale red, white, and graymarbles in a variety of patterns.The whole interior thus presentsthroughout a remarkably richand harmonious effect of color. The exterior of Santa Anasta-sia has, with the exception of the west front, not less resemblanceto Santa Maria Novella than the interior. The nave vaults arebuttressed by ramping walls built up from the transverse arches of. Fig. 369. Verona. Tomb of Castelbarco. 200 ARCHITECTURE IN ITALY the aisles, and rising some three feet above the aisle roofs, as inseveral other churches heretofore cited. But here a concession tothe methods of Northern Gothic is seen in a series of pinnacleswhich crown the aisle buttresses at the foot of the buttress walls.The facade, as is so often the case in Italy, is unfinished, and therough brickwork of the wall still waits for its marble facing. Onlythe doorway is complete, — a beautiful composition, with more ofthe true Gothic feeling than is often found in Italy. It is a broadpointed arch with five orders of delicate jamb-shafts and arch-mouldings, the capitals, refined and severe, resembling those oftenseen in the French Gothic churches of the twelfth century. Themasonry is laid up in alternating courses of red, white, and graymarbles. The opening is divided by a graceful twi

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