nd may be fairly classed as a transitional building. The
most charming and thoroughly characteristic work of Gothic
architecture in Pisa is, however, a small gem of a chapel, the church
of Sta. Maria della Spina. It displays exquisite ornament, and,
notwithstanding much false construction, the beauty of its details, of
its sculpture, and of the marble of which it is built, invest it with
a great charm.

Pisan Gothic is remarkable as being associated with the name of a
family of highly gifted sculptors and architects, the Pisani, of whom
Nicola Pisano was the earliest and greatest artist; he was followed by
his descendants Giovanni, Nino, and Andrea. With the Pisani and Giotto
the series of the known names of architects of great buildings may be
said to begin.

Florence, the most important of the cities we have named, is
distinguished by a cathedral built in the early part of the fourteenth
century, and one of the grandest in Italy. It has very few columns,
and its walls and vaults are of great height. The walls are adorned
externally with inlays in coloured marble, and the windows have
stained glass--a rarity in Italy; but its lofty dome, added after the
completion of the rest of the building, is its chief feature. This was
always intended, but the pointed octagonal dome actually erected by
Brunelleschi, between the years 1420 and 1444, though it harmonises
fairly well with the general lines of the building, and forms, as can
be seen from our illustration (Fig. 51), a striking object in all
distant views of the city, is probably very different from what was
originally intended. Near the cathedral stand the Baptistry, famous
for the possession of the finest gates in the world, and the Campanile
of Giotto. This tower is built, or at least faced, entirely with
marble; and when it is stated that its height is not far short of that
of the Victoria Tower of our Houses of Parliament, though of slenderer
proportions, it will be seen that it is magnificently liberal in its
general scheme. The tower is covered with panels of variously coloured
marbles from base to summit, and enriched by fine sculpture. The
angles are strengthened by slightly projecting piers. The windows are
comparatively small till the highest or belfry stage is reached, and
here each face of the tower is pierced by a magnificent three-light
window. A deep and elaborate cornice now crowns the whole, but it was
originally designed to add a high-pitched roof or