Plate 97. Arches on Columns

In the year 1830, near the Castle Veccio at Ferrara, yet stood an arch which presumably was the remains of a Roman column arcade. On account of its ornament we have represented the same as an example on Plate 97. On the corner column outside of the archivolt stands a small corner pilaster, which gives the entablature over, a logical support, and especially where it is required the most. We find a similar arrangement earlier on the old arch door at Perugia and on the exedra in the tomb street at Pompeii, but not carried out as well. In the spandrels are round sinkages in which presumably once were busts. In the frieze of the entablature are placed wreaths which seem to have contained inscriptions.

In connection with column arcades in courts, columns have been placed in the corners without reason. Often, however, we find more logical examples with pillars, and we will consider an example of this character on this plate taken from the Palace of Cancelleria at Rome by Bramante Lazzari, the most gifted architect of his time. Our representation shows one of the arches of the second story in elevation and section, and thereunder the plan. The pilasters and columns stand on pedestals, between which slightly setting back, is a continuous course with the same profile, forming a continuous podium under the arcade, as at the Roman theatres. The columns consist of red oriental granite, each in one piece. They were, at the rebuilding of this Palace, taken from the Basilica San Lorenzo at the end of the fourth century, and it is thought that they still earlier once belonged to the Portico of Pompey, which stood nearby. The pilasters are also of red granite, and their shafts are ornamented by rich bands. In the spandrels are medallions, in which is the crest of Cardinal Riario, who caused this Palace to be erected. The first story has similar columns and pilasters. On each long side are eight, and on each short side five bays. Over the two arcades rises yet a third story with Corinthian pilasters in keeping with the work below.

The third example was drawn by the author in 1830 at the site in Florence, and is given here on account of its original manner of terminating the arcade by returning the architrave down at the side, and which again returns under the base of the column. The podium is cut through in order to make room for the steps, an arrangement which is not very successful or pleasing. The entablature is plain and without a frieze. In the spandrels between the archivolts is seen the half moon from the crest of the family Pucci.