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Choose a mode of transportation:. Learn more about Rome real estate. Giusto and inscription found at the theatre, naming an officer of Emperor Trajan lower right corner Relics of Roman sepulchral art form the posts of the great west doorway, and numerous monumental slabs of later ages are placed upright against the lower part of the west wall. The outside of the campanile is set thickly with fragments of Roman architecture, arranged quite haphazard, relics evidently of some antique building on the site of the duomo; and passing through the doorway into the interior of the campanile one is amazed to find part of this classic building still erect.

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Walled up in the masonry of the campanile are no fewer than seven Roman columns which still support their entablature of architrave, frieze and cornice, and have evidently never been disturbed from their original place. They seem to have formed part of a portico or peristyle, and to have belonged to a classic building of which the rest was destroyed to make way for the Christian basilica. Jackson The location of a large Roman basilica has been identified to the north of S.

The image used as background for this page shows a relief of the Roman period portraying a battle between Greeks and Amazons at Civico Museo di Storia ed Arte. The slab was found upside down in the floor of S. Giusto seen from the outside; right its dome The strange rambling plan of the interior seems at first to have no system or reasonableness, but the four rows of columns and arches, and the five aisles with the chapels beyond them, produce an effect of intricacy and mystery that are not without a certain charm.

The explanation of the singular ground-plan of this church is due to the ingenuity of Dr. Kandler, Pietro Kandler , archaeologist and historian who observed that the two secondary aisles with their apses and mosaic decorations had all the appearance of having been the central naves of two distinct churches standing side by side..

The northern of the two churches, that "del Santissimo" when restored to its pristine form appears a simple basilica, with nave and aisles and an apse at the east end of the nave; the southern church, dedicated to S. Giusto, similarly restored appears a cruciform Byzantine building, with nave and aisles, transept and central cupola.

Jackson S. Giusto - Principal nave just before a wedding What may have been the object of placing two churches in such close juxtaposition is a curious question. Kandler's theory is that the northern or basilican church was the cathedral, and the southern cruciform church the "confessio" or "martyrium" of Saints Servulus and Justus. The two churches remained distinct till the fourteenth century, when the desire for a more splendid temple, or the wish to bring the bodies of the patron saints actually within the cathedral walls, or the fashion of multiplying altars, of which before the year one had sufficed in each church, or all these motives combined, occasioned the great change which brought the duomo to its present form.

They threw down the walls of the two churches which were nearest one another, they prolonged the nave of S. Giusto with its aisle to the same length as that of the basilica, and they converted the space that was left between the two ancient naves into a principal nave, which being formed of sides that did not correspond, necessarily had to be irregular.

The fourteenth century nave is very wide and spacious, and is lighted by a vast western rose window.. The apse, which was once painted in fresco, but is now hideously modernized, retains the primitive arrangement of a retrochoir for the clergy with seats in a hemicycle and the bishop's seat in the middle.


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  • Giusto - Interior: left capitals; right floor mosaics There are eight arches on each side in the length of the nave, resting on columns which have been gathered from several ancient buildings and are of unequal sizes, so that their capitals are of unequal sizes also, though even with this variety they are badly fitted to the shafts and generally too small for them. The bases are large and rudely imitated from the Attic, and the capitals are rough versions of the Corinthian, raffled neither in the Roman nor quite in the Byzantine way, coarsely cut and rather barbarously proportioned.

    Jackson The new church was consecrated in at the end of a very turbulent period of the history of Trieste. In the town had to accept the suzerainty of Venice and in it was sacked by the Genoese during the War of Chioggia.

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    In the inhabitants of Trieste requested the protection of the Dukes of Austria, thus establishing a link which lasted until That of the northern church is undoubtedly the finer of the two. In the centre of the gold ground of the semidome is the Virgin, dressed in blue drapery edged with gold lines, and holding the infant Christ dressed in gold, who raises his hand to bless. To her right is St. Michael and to her left St.

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    Gabriel, each holding a cross within a circle, and dressed in white shaded with dove or blueish grey, but with some gold and colour interwoven. Around the apse below are large figures of apostles, divided into two groups by a green palm tree laden with fruit, like those that divide the saintly procession in the mosaics of S. Apollinare Nuovo at Ravenna. All these figures are admirably designed and full of spirit and individual treatment, each head having a character of its own.

    They are all in classic costume, and the latus clavus a broad stripe of purple on the fore part of the tunic appears here and there, but their draperies have more variety and art in their disposition than those of the mosaics of Justinian's time at Ravenna. The colours of the robes are varied, but all are light, and are little more than white draperies shaded with different hues, salmon-red, grey, green, and so on.

    This seems to me unlike any method of shading employed by the Byzantine artists of the sixth century.