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Updated: May 16, 2025
In the last chapter the most important works of Terzi and of his pupils have been described, and it is now necessary to go back and tell of various buildings which do not conform to his plan of a great barrel-vaulted nave with flanking chapels, though the designers of some of these buildings have copied such peculiarities as the tall and narrow pilasters of which his school was so fond, and which, as will be seen, ultimately degenerated into mere pilaster strips.
There is a square-headed niche at the turn and a round-headed niche at the end, both meant, doubtless, to hold lights. Three feet from the end a round-headed doorway, 2 feet wide and over 6 feet high, opens northwards, with a descent of two more steps, into a barrel-vaulted chamber, 11 feet 5 inches long from east to west, 7 feet 7 inches wide, and 9 feet 10 inches high.
It was a barrel-vaulted crypt, sternly simple, and lighted only by one very narrow Romanesque window in the apse, just above a rough stone altar of ancient pattern, with a statue of the dead Christ on the ground beneath the slab. In the semi-darkness, the flame of a solitary candle shone without smoke or motion, as if it had been there for centuries, and like all the rest had grown very old.
The figure of an emperor is carved on one of the faces, and on another that of a pagan divinity. The architecture of the church is simple and majestic, the only jarring note being the cupola raised about the time of the Renaissance over the intersection of the nave and transept. The barrel-vaulted nave, crossed by plain broad fillets, is in keeping with the early Romanesque severity of the façade.
As a matter of fact no part of the church can be older than the twelfth century, and it has been much altered, probably at the date when the inscription was cut. It is a small building, a barrel-vaulted nave and chancel, with a door on the north side and a larger one to the west now covered by a large porch.
The aisles of the cathedral of Arles are but five feet wide, the arches are round, the windows Romanesque; the church is barrel-vaulted, nothing could be plainer, and yet somehow that old church is full of poetry and charm. I went to High Mass at eleven. It was all very homely, quiet and reverent.
In this charming retreat, where Borso and Ercole alike loved to escape from the cares of state, we may still see the remnants of these splendid decorations which once adorned these halls: the painted arabesques and stucco frieze of children playing musical instruments, the barrel-vaulted ceilings, and marble doorways with their rows of cherub heads and dolphins.
La Colleggiata is the ancient church of S. Maria Infunara, which Andreacci Saracenis founded, but was rebuilt in 1221, during the Servian period. It has a nave two bays in length, the first cross-vaulted, and the second with a dome enclosed within an octagonal drum, and with a barrel-vaulted presbytery before the apse. An aisle to the north, continued to the tower as a sacristy, is later.
The barrel-vaulted nave also long survived, being found as late as the beginning of the fourteenth century in the church of Santa Clara at Coimbra, and even about seventy years later in the church of the Knights of São Thiago at Palmella.
Dom Gualdim's church, since then enlarged by the addition of a nave to the west, was originally a polygon of sixteen sides with a circular barrel-vaulted aisle surrounding a small octagon, which with its two stories of slightly pointed arches contains the high altar.
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