One of the most noted artists of all time was also notorious for being a terrible businessman.
Motley rows of reused column shafts, capitals, and bases were among the most conspicuous features of medieval church interiors in Rome and south Italy for over a thousand years, from the time of their first appearance under Constantine the Great (d. 337) until the end of the Middle Ages.
The Two Themes of Architecture: From Aesthetics Vol. II. Trans. Rev. Brian McNeil and John F. Crosby
Architecture occupies a unique position in art. Unlike the other arts, it does not have only one theme, namely, beauty. Like nature, it has two themes.
If the decoration of the Neonian Baptistery is read as a stage-setting carefully designed by its patron to complement the baptismal ritual during its enactment, its meaning reveals itself.1
Gottfried Semper wrote in 1846: “The impression made on the masses by a building is partly founded on reminiscences.”1 This certainly holds true for the Gothic, a style that for the masses has always evoked the awe of Christian grandeur and mysticism, if only in its soaring interiors and steeples.