Lindsay (Lindsay (1847) II p.44f) distinguishes an earlier and a later period of Lombard sculpture:
The earlier is the more original. It may be seen in full development in the facade of San Michele at Pavia - rude indeed to a degree, but full of fire and a living record to the daring race that created it. The archangel trampling down the dragon appears over the central door, S. George similarly victorious, and Jonah vomited by the whale, over those to the right and left; while in the jambs of the arches and in belts running along the walls, kindred subjects are sculptured in every direction and without the least apparent connnection - dragons, griffins, eagles, sphinxes, centaurs the whole mythological menagerie which our ancestors brought with them from their native Iran, - and these either fighting with each other or with Lombard warrior, or amicably interlaced with human figures, male and female, or grinning and ready to fly at you from the grey walls - interspersed with warriors breaking in horses or following the hounds, minstrels, and even tumblers, or at least, figures standing on their heads; in short, the strong impress everywhere meets you of a wild and bold equestrian nation, glorying in war, delighting in horses and the chace, falconry, music and gymnastics - ever in motion, never sitting still - credulous, too, of old wives’ stories, and tenacious of whatever of marvellous and strange had arrested their fancy during their long pilgrimage from the East, - for Zodiacs from Chaldaea, and emblems of stirring mythology of Scandinavia, constantly alternate in these and similar productions, with the delineation of those pastimes or pursuits which their peculiar habits induced them to reiterate with such zest and frequency. But they are rude, most rude; do not mistake me, - I plead only that they are lifelike, and speak with a tongue which those who love the Runic rhyme and the traditions of the North, and feel kindred blood warm in their veins, will understand and give ear to.
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[Version 0.05: May 2008]