Kallundborg Kirke

Konstantinopel 6 (Fig. 37). Selv hvor Kuppelpartiet kombineres ikke med en indvendig Kvadrat, men med Oktogonformen, som i Sergios og Bakchos Kirke i Konstantinopel fra 6te Aarh.s anden Fjerdedel (Fig. 39), der var Forudsætningen for selve Sofiakirken, ja, i denne selv, ligger tydeligt nok den her be? handlede Plantype til Grund, hvor forskellig Opbygningen end kan være fra den mere primitive, fra Antiken nedarvede Ud= formning. Det her udviklede viser da med al mulig Klarhed, hvor tilvant netop dette Planskema var bleven i byzantinsk Kirkebygningskunst — sikkert en naturlig Følge af, at For? bindelsen mellem det og Kuppelmotivet statisk lod sig ud? forme paa en saa overordentlig klar og naturlig Maade. Nok saa stor Interesse har det dog at følge den her behänd? lede Plantypes Skæbne i selve Italien og Landene Nord for Alperne, der ligger Kallundborg Kirke geografisk og kulturelt nærmere. Og i Norditalien i Kirken San Lorenzo i Milano, møder os da en Bygning, der — trods sin rige komplicerede Planordning og trods sine betydelige Dimensioner — er kom? poneret over Centralkvadraten som Hovedmotiv. Netop en saa monumental og differentieret Bygning som San Lorenzo viser tilfulde, at Plantypen i sin Renhed maa ha? ve været vel kendt i Overgangstiden imellem Oldtid og Mid? delalder ogsaa i selve Italien og bekræfter den tidligere frem? satte Anskuelse, at den har været langt hyppigere benyttet i de centrale Dele af det romerske Kejserrige, end Antallet af bevarede Monumenter her lader formode. San Lorenzo, der blev opført i 6te Aarh. og muligvis af samme Arkitekt, Julia? nus Argentarius, der er Mester for San Vitale i Ravenna 7, har ligesom den lidt ældre, men langt beskednere Kirke i Arme? nien radiale Apsider. I samme Tidsrum, da Karl den Store efterlignede San Vitale i Ravenna i sit berømte Paladskapel, opførte Biskop Theodulf, der mulig selv var Italiener, Kirken St. Germigny des Prés ved Orléans (Fig. 40). G. T. Rivoira anser denne for en Efterlig? ning af San Lorenzo. Men da den griber tilbage til Motivets rent primitive Form, dog ogsaa her udvidet med Aksialapsider, er det nok saa rimeligt at antage, at det i den franske Kirke er selve Grundtypen, der lever videre; denne kan meget vel for? udsættes at have været velkendt i Italien endnu helt op i den karolingiske Periode, og at det forholder sig saaledes turde The Church of Sergios and Bakchos. Constantinople. Plan. spite of its great dimensions, is composed on a central square as its main motive. It requires just so monumental and differentiated a building as San Lorenzo to prove completely that this type of plan in its purity must have been well known during the transition period between ancient times and the Middle Ages, even in Italy, and it substantiates the theory claimed earlier that it was much more often used in the central parts of the Roman Empire than the number of monuments of that type remain? ing, would lead us to suppose. San Lorenzo, built in the 6th century, and possibly by the same architect, Julius Argenta? rius, who is the creator of San Vitale in Ravenna 7, has radial apses similar to those of the slightly older but far less pretenti? ous churches in Armenia. At the same time as Charles the Great was imitating San Vitale in Ravenna in his famous palace chapel, Bishop Theo? dulf, who perhaps himself was an Italian, built the church of St. Germginy des Prés near Orléans (Fig. 40). G. T. Rivoira considers this a copy of San Lorenzo. However, as it seeks back to the purely primitive form of the motive, though here, too, enlarged by axially placed apses, it is probably right to suppose that the fundamental type is continued here in the French church. Nothing prevents its being well?known in Italy even far into the Carolingian period, and that this is really so is proved by the faet that it again appeared in the glory of its strength a couple of generations later in the little chapel of San Satiro, which, in 876, was annexed to its far larger and more imposing relative, the church of San Lorenzo (Fig. 41). These three buildings, the only ones of this type which can be shown to have existed in European ecclesiastical ar? chitecture prior to the 9th century, follow the traditions of the late Roman school in their construction also. They are vaulted and the determinative central room is further em? phasized by a dome which towers high above the other parts of the building. How the dome of San Lorenzo was covered is not easy to say, after the extensive rebuilding which has taken place, especially during the 16th century. However the churches of San Satiro and St. Germigny des Prés have, — and 31