te carving or friezes, as in the case of the churches of the cathedral schools (Heydenreich 114-5). Instead, the interior walls of San Lorenzo are framed by geometrical lines--whether of moldings or pilasters. To be sure, there are fluted columns and capitals with decorative leaves (usually called Corinthian); however, such details receive our attention precisely because they are sparingly and proportionately used. This is the principle that I will carry forward in the design of the exterior facade.
Typically, the overall shape of any basilica is cruciform. This is true of San Lorenzo, although the crossing is not so wide in proportion as the space from the altar to the end of the nave is long (Hyman 82f). The presence of "form" as the achievement of San Lorenzo, both interior and exterior, should be noted. It has been necessary to describe the structural frame and interior design of San Lorenzo to help explain that my conception of the design of the facade is to find consistency in the use of shapes, proportionality, and space both inside and out. In other words, the exterior facade will have decorative shapes that, in relating to the structure as a whole, bear the same relation as the interior features such columns, arches, and decorative features have to one another.
The second factor of the spaciousness of San Lorenzo is the use and repetition of the round arch in a perfectly symmetrical manner (Murray 58). Remember that in architecture "everything is to be me
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