There are no other streets in Italy which can boast such an array of n.o.ble houses as the renamed Strada Nuova, now the Via Garibaldi, and the Via Balbi. The Palazzo Rosso has a magnificent _sala_ that has a roof decorated with the armorial bearings of the Brignole family and those they intermarried with. The Munic.i.p.ality is now lodged in the Palazzo Doria Tursi. It has a grand facade flanked by open arcades with gardens on top, and was built for one of the Grimaldi by Rocco Lurago, a Como architect. Christopher Columbus was born in Genoa, and a bust of him stands in the great hall of the palace, the Sala della Giunta. In its pedestal are some of his autograph letters to the Banco di S. Giorgio.

His family came from Piacenza, but at the time of his birth his father was warden of the Porto dell' Olivella, one of the city gates. The Palazzo Ducale, a huge building of mixed styles, was begun in the thirteenth century but not finished until the sixteenth. The Palazzo Durazzo has a grand vestibule and the finest staircase of all. The Palazzo Doria, standing alone in a delightful garden which extends towards the harbour, is beautified by a good _loggia_ with arcades. Many are the palaces built by the great families of Genoa, the Spinola, Pallavicini, Balbi, Fieschi, Cambiasco, and others, as well as those already mentioned. They all contain large collections of pictures and other treasures, and it can certainly be said that the old n.o.bility have left a hall-mark on their city. The earlier buildings all possessed towers, and during the Guelph and Ghibelline feuds, when street fighting was ever recurrent, these vantage positions were of immense strategic value--it was so pleasant to put the opposing faction _hors de combat_ by pouring boiling pitch and molten lead on to the heads below!

Street fighting became at length such a nuisance to the peaceable inhabitants that the order went forth that all towers were to be demolished, with one exception, the tower that Guglielmo Embrianco attached to his house. This alone was spared. And it is due to the veneration in which his name was held that it stands to-day the solitary defensive relic of Genoa's family feuds. It will be noticed that some of these palaces are faced, like the Cathedral, with bands of black and white marble. This distinction was granted to the four n.o.ble houses of Doria and Spinola, who were adherents of the Pope, and Fieschi and Grimaldi, who took the Emperor's side in all wars.

The Cathedral is a good example of what may be termed Genoese Gothic. It is dedicated to S. Lorenzo, and was consecrated by Pope Gelasius II. in 1118. The facade, separated into three unequal parts, is a good example of thirteenth-century Gothic. The _piazza_ on to which it faces slopes sharply downhill--all Genoa is up and down hill--and the Cathedral rises well on its tier of steps. Bands of black and white form the exterior wall of the whole building, and are effectively carried through the recesses of the portals. The centre porch has twisted columns, which are carried round the splay of the arch. The columns themselves alternate with others that are circular. The bases and pedestals are covered either with carving or inlaid chequer and lozenge patterns. The two flanking porches are similar, and a.s.sist very greatly to increase the pleasing effect of this somewhat elaborate treatment, which is heightened by the two detached spiral columns on either side and those that terminate the facade at each end. In the tympanum over the central doorway is a figure of S. Lawrence lying nude on a gridiron. The fire beneath is stoked and kept alive by bellows handled by those who a.s.sisted at his martyrdom. Above is a figure of the Almighty surrounded by an angel, a lion, a peac.o.c.k, and a deer. The detached column at the south-west angle of the facade, seen in the ill.u.s.tration, carries a figure of the patron saint under a canopy. It rests on the back of a lion; four smaller beasts of the same species encircle the base. The two huge _couchant_ lions at either end of the steps are of much later date than these. From the south-west angle a fine turreted tower rises upwards from the square, and with its copper dome forms a great feature of the Cathedral as one walks up the Strada Carlo Felice. This street is narrow and full of traffic, so much so that it is with difficulty one makes out the many mutilated tablets with Roman inscriptions, built haphazard into the south wall of the Cathedral, and the canopied mediaeval tombs let in above.

[Ill.u.s.tration: FAcADE OF THE CATHEDRAL, GENOA]

The interior of the building is disappointing. One expects to find more s.p.a.ce. A gallery at the west end, under which you find yourself directly upon entering, forms a sort of atrium. It is supported by very ma.s.sive cl.u.s.tered columns which carry a good groined vault with heavy ribs. This was originally the _cantoria_, or organ-loft. Nine small bays on either side separate the nave from the aisles. The single columns of the arches are of red and purple marble from the renowned quarries at Tortosa, in Spain. At each corner of the black marble bases, and touching the _torus_ of the column, the head of a bird or animal has been carved. The arches of the bays are pointed. Above them is an open triforium formed by rows of small stunted arches that are carried by single and cl.u.s.tered columns in banded black and white. The clerestory is of small narrow single lights. The transepts are Renaissance, and the choir a mixture of styles.

The chapel of St. John the Baptist in the north aisle bears a resemblance to that of "Il Santo" at Padua. Four slender carved pillars support the entablature of good Renaissance design, on which are exceptionally well arranged panels ill.u.s.trating the saint's life.

Filippo Doria erected the canopy borne by porphyry columns which stands over the altar. Under this, enclosed in an iron casket within a marble ark, on which are sculptured reliefs, are the remains of St. John.

Genoa's fleet was homeward bound after one of the crusades, when, through stress of weather, it took shelter in the port of Myrra, in Lycia. Hearing that a monastery close by contained the sacred remains of the saint, some of the bolder spirits of the fleet entered the church attached, and, despite the protests of their co-religionists, carried off in triumph all that remained of St. John. The relics were presented to their own Cathedral of S. Lorenzo on arriving home. Here they have rested ever since. No women are admitted into the chapel--a prohibition imposed by Pope Innocent VIII. in remembrance of the guilt of Herodias.

The Treasury holds many things of value and interest besides the Sacro Catino already described. Among them is a fine piece of Byzantine much-bejewelled metal work known as the Cross of Zaccaria. It was carried off from Phocea by Ticino Zaccaria at the capture of that place.

The church of S. Bartolommeo degli Armeni contains the celebrated picture on a cloth of the head of Christ. It was given to one of the Montaldi, a n.o.ble Genoese family, by John Paleologus, Emperor of Constantinople, in return for important services rendered. The legend runs that Agbarus, King of Edessa, sent an artist, Annanias by name, to paint our Lord's portrait. Annanias was no portrait painter, and failed in the attempt. Our Lord then took a cloth, pressed it to His face, and sent the impression back to the King. Leonardo Montaldo bequeathed it to the church in 1382.

The church of S. Donato, with its Romanesque tower that was built into the walls of Genoa forming one of its defences, dates from the eleventh century. There are many other ecclesiastical fabrics in a place which is fast losing all traces of old a.s.sociations. Of the three sets of walls built at different times as the city slowly enlarged itself, the outer alone bears any semblance of its pristine state, and modern Genoa, with up-to-date improvements, is encroaching on these. But for all this its situation is superb, and it is in every way a bright and charming place.

To those who enter by rail it is impossible to grasp the incomparable position the city occupies. Coming in along the Cornice road from the west, or that from the east, it can be better realised. But the best approach is by sea. The long line of distant mountains that first appears on the horizon gradually opens up, peak rises beyond peak, the nearer hills become detached, valleys are revealed, and soon white houses may be discerned dotting the dark grey slopes. A long, broken array of villages fringes the blue waters, gathering closer together as land is approached. The ma.s.s of warm yellowish tint scintillating in the brilliancy of a Mediterranean sun takes shape, and the eye by degrees separates long terraced rows of buildings, church towers and domes from one another. The colour changes, and a heterogeneous combination of pink, white, yellow, and grey discloses the far-famed city rising tier above tier from the busy port that lies at its base. A whistle sounds, the rattling cable rushes out, the anchor plunges into the water, and our ship is at rest. We are in the historic port from which the First Crusade started, and from which not so long ago the patriot Garibaldi, with the friendly aid of Rubattino, sailed with his devoted thousand for Sicily.

PISA

You will not find in all Italy anything that is placed quite so well with an eye to effective grouping as the Baptistery, Cathedral, and Campanile of Pisa. Nowhere does anything approach so near to the ecclesiastical exclusiveness of an English cathedral close as the great square of level green sward in which these three remarkable fabrics stand. From one corner of the Piazza del Duomo part of the university buildings looks over the turf to the Baptistery. Hard by the seat of learning is the Porta Nuova, a fine gateway that pierces the old walls of the city--walls of an almost unpaintable red. Within the walls, on the other side of the Cathedral--that is, to the north--the Campo Santo stands with bare facade and domed tower. Adjoining it on the east, conventual buildings and the Palace of the Archbishop occupy the angle of the Piazza. They face the Campanile. The one or two establishments which come next as we continue our _giro_ are full of little marble "Leaning Towers" and other souvenirs which the tourist delights in. Save for the intrusiveness of these shops, there is nothing else in the surroundings of the vast square that detracts from the fascination of the wonderful group in the centre.

The Pisa of to-day cannot have changed much from the Pisa of two hundred years ago. It is true that, outside the old walls which encircle her, a straggling suburb is growing up, but within them n.o.ble palaces still front the River Arno, and others occupy the best positions in the city.

Dwellings of the poorer cla.s.ses line the narrow streets that connect the wider and more s.p.a.cious thoroughfares; they crowd thickly together, and the life of the pavements is the life of Italy as the tourist loves to find it--the life of days gone by.

It has been said that all roads lead to Rome; in Pisa all roads lead to the Piazza del Duomo. In the centre stands the Cathedral; to the west of it, the Baptistery; to the east rises the Campanile, or Leaning Tower.

Pisa had well-nigh reached the zenith of her power when in 1063 her people resolved to commemorate a great victory over the Saracens by building a new cathedral. Ninety years later, having destroyed their Southern rival Amalfi, the Pisans commenced the Baptistery. The year 1174 saw the first stone of the Campanile laid. Thus in a little over one hundred years these three buildings, which mark so important an epoch in Italian ecclesiastical architecture, were under construction.

The advent of a man of unknown origin, Busketus, who designed the Cathedral, and whose epitaph is on one of its walls, heralded a new phase in the art of the country. And although he adapted something from the Romanesque, this grand church of his was the precursor of a style that we find amplified, but not improved upon, in Ferrara, Pavia, Parma, and, most notably of all, in the neighbouring city of Lucca. In the history of Italian ecclesiastical architecture Pisa stands pre-eminent.

The facade of the Cathedral is very striking. The seven round arches of the blind arcade that form the lowest tier or base are continued round the entire fabric. The pedestals from which the columns of this arcade spring rest on a bold but simple base-table that also encircles the building. These columns are round on the facade, the eastern apse, and the apse at the end of each transept, but become pilasters elsewhere.

This extremely good arrangement does not break up the flat walls by too many obtrusive perpendicular lines. On the contrary, it enhances their n.o.ble length, and at the same time improves the semicircle of the apses.

Three bronze doors occupy three arches of the facade arcade. They are good examples of the seventeenth century. Crude mosaics in the tympanums above are a jarring colour note which one would willingly suppress. It is otherwise, however, with the wonderful patterns of inlaid marble and the rich ornamentation of vine-leaves and floral forms, human heads and animals, that embellish the whole facade--a character of decoration that finds a fitting terminal in the crockets on the gables and the figures at their ends. Above the arcade four deeply recessed galleries fill the whole s.p.a.ce of the facade. The lowest of these is on a level with the clerestory lights in the aisles. The next is cut off at either end by the angle of the gable; the columns diminish in size with the slope of the aisle roof. The third is in a line with the clerestory of the nave, and the topmost diminishes with the gable, which is carried beyond and above the ridge of the roof of the nave. The slender pillars that support the arches of these galleries have wonderfully carved capitals, and stand out in the brilliant afternoon sun from the deep shadow behind with marvellous effect.

One enters the Cathedral by the south and only door which escaped the great conflagration of 1596. Its bronze panels are by Bonannus, who has handed down twenty-four episodes of Gospel history in the very ingenuous style of his time. A lead-covered penthouse wards off the inclemency of the weather. The fine cupola which rises above the crossing is rather dwarfed by the Gothic arcade and finials which surround its base. The grand effect of the Cathedral is due in a measure to the mellowing of the white marble, which the sun has seemingly baked to a beautiful warm yellow and light red. On the north side, which is exposed to the bitter _tramontana_ wind from the Monti Pisani, the marble is blistered and scored, and has acquired an ashen white that in this sunny land is not pleasant.

The interior is lofty. The effect obtained by the bands of black and white marble of which the walls are composed is not so embarra.s.sing to the eye as in Siena's holy fane. The nave is divided into ten bays; the columns that support the round arches are magnificent monoliths of granite. These bays are carried in a continuous colonnade across the transepts and along their east and west walls. The aisles are double. As a consequence the forest of columns and arches is almost bewildering; and if it were not for the fine proportions of the nave, the eye would have but little rest from a multiplicity of shadows and disturbing spots of light. The pointed triforium, that is borne by the arches of the nave, is continued across the transepts into the choir. The base of the cupola at the crossing is elliptical, the length being east and west and the narrow sides north and south. The interior of the dome is covered with frescoes. The design of the six altars in each aisle is attributed to Michael Angelo. The transepts are terminated by two apsidal chapels with mosaics in the semi-domes said to be designed by Cimabue. The same origin can be more justly claimed by that which decorates the vault of the choir apse, and in which the great artist has depicted our Lord in Glory, and S. John. The pavements of the choir and crossing are exceptionally fine _opus Alexandrinum_. The huge bronze lamp that hangs, swinging slightly, from the coffered and gilded roof of the nave is supposed to have suggested to Galileo the idea of the principle of the pendulum.

To the west of the Cathedral is Pisa's beautiful Baptistery. This building was commenced by Diotisalvi in 1153, and continued later on in 1278. The lowest storey is of the first mentioned date, and, like the Cathedral, is composed of a blind arcade, pierced in this case with small round-headed windows. An open gallery circulates round the whole edifice above this. Its columns support round arches that are surmounted in piers by crocketed gables, pierced and cusped. A figure stands on the apex of each, while between every pair small open turrets thrust their pinnacles upwards. Above this gallery a series of windows with a similar arrangement breaks the base-line of the somewhat ugly pear-shaped dome. As a prevention against the corroding influence of the salt sea winds, this dome is tiled on its south-west surface. The other portion is covered with lead.

[Ill.u.s.tration: THE BAPTISTERY, PISA]

In the centre of the interior, generally entered by the door opposite the west facade of the Cathedral, stands the font in which baby Pisans have for many generations been baptized. Like others, it is made for total immersion. The walls which surround the appropriately "waved"

black-and-white pattern of its floor are extremely beautiful. A delicately carved framework of marble encloses wonderful panels of inlaid mosaic somewhat in the style of the pulpit in the ill.u.s.tration to "Salerno." Six small basins are let into the walls of the font and are used now for the Holy Rite. Near the altar stands Niccol Pisano's masterpiece. This hexagonal pulpit rests on seven slender columns of marble and granite. Some of these columns rise from their bases on the backs of lions, gryphons, and crouching human figures, thus in a way representing the dominion of the Word of G.o.d over creation. The rectangular panels of the pulpit stage are beautifully carved in high relief. Niccol Pisano's art, which bears evident traces of pagan influence, is seen at its best in these panels of the Nativity, Adoration of the Magi, Presentation in the Temple, the Crucifixion, and Last Judgment. On the steps is a red marble pillar standing on the back of a lion. It supports a small marble book-rest from which the Epistle was read. The desk on the pulpit itself is placed on an eagle, and was used for the reading of the Gospel. Eight marble piers and eight granite columns support the gallery beneath the dome. The whole of this n.o.ble interior is very light and airy, and Pisan mothers should have more cause to hope for a bright future for their babes than their sisters in Parma, if a comparison is permissible between the bright cheeriness of the one place and the mystical gloom of the other.

The Campanile stands to the east of the Cathedral. Its base is some feet below the restful green of the gra.s.s that covers the whole of the Piazza. Four different architects carried out its erection during a period that extended over nearly two hundred years. The base, another blind arcade, was begun in 1174 by Bonannus; the fourth gallery was added by Benenato, the next two by William of Innsbruck, and the topmost by Tommaso. The foundations were unfortunately laid in sea-sand, and the tower settled at an angle that causes it to lean towards the south thirteen feet out of the perpendicular. Galileo utilised this feature for experiments on the velocity of falling bodies.

[Ill.u.s.tration: THE CAMPANILE AND DUOMO, PISA]

The Campo Santo, the dome of which is seen in the ill.u.s.tration to the right of the Cathedral, is a quiet cloistered court on the walls of which are an extraordinary series of frescoes. Those on the north wall, by the Florentine, Benozzo Gozzoli, who was a pupil of Fra Angelico, are the most interesting. The Gothic arches and slender columns of the cloister, and the well-kept garden-plot in the centre, out of which tall cypress-trees rear themselves in ordered array, add much to the dignity of this quiet spot.

The old Dominican basilica of Sta Caterina stands in a corner of the piazza of the same name. Great plane-trees almost hide from view its beautiful facade, which, like that of the Cathedral, is gabled and arranged in galleries. Here, however, these are Gothic, with trefoil cusped arches, developing in the topmost to cinquefoil, and giving an air of elegance to the whole that is lacking in the Cathedral. A comparison of the two facades ends with the opinion that while in Sta Caterina there is more grace, the Cathedral possesses more architectural fitness for the design and proportions of the outline. Diotisalvi built the little octagonal church of S. Sepolcro for the Knights Templars, and Niccol Pisano erected the fine _campanile_ attached to the church of S.

Francesco. This tower is partly supported by consoles, or brackets, within the church. The staircase runs up both inside and outside its walls.

S. Stefano, which contains a S. George by Donatello, is close to the Carovana in the Piazza dei Cavalieri. The piazza is thought to be the old Roman forum. The Carovana was the Palace of the Knights of S.

Stephen, and was another of Niccol Pisano's works, and, although altered later on by Vasari, is a fine example of Domestic architecture.

A double flight of steps leads up to the entrance-door, on either side of which are tall windows. The facade is covered with frescoes and adorned by six busts in niches of the first half-dozen Grand Dukes, Masters of the Order. The roof projects far out, and the eaves, supported by well-carved cantilevers, throw a deep shadow down the front of the palace. The Order of S. Stefano was founded in 1561 by Cosimo I., but never distinguished itself amidst the Orders of Chivalry, and was dissolved in 1869. A statue of the founder stands over a fountain in front of the steps.

Among the buildings that face the Arno, the Palazzo Lanfreducci, with the words "alla Giornata" and a chain pendant over the doorway, the Palazzo Lanfranchi, where Byron lived, and the fine old fortress-tower, the Torre Guelfa, are the most notable in a city that at one time disputed with the mighty Genoa the rule of the Mediterranean. The rivalry between these two maritime powers ended only when, after the disastrous battle of Meloria, the Genoese filled up the harbour of Pisa, and she became no longer of any account as a naval base.

LUCCA

Lucca is one of the most delightful little cities in the peninsula, and its seventy-two churches, taken as a whole, the most interesting in Italy. In matters ecclesiastical it is one of the oldest foundations in the country, and is reputed to have been the first place to have embraced Christianity. The first bishop of Lucca, a disciple of S.

Peter, was S. Paulinus, and the long line of prelates who followed him were elevated to the higher dignity of Archbishop in 1726. The canons of Lucca are mitred, and the prelate has the privilege of wearing the insignia of a cardinal. It was always a Ghibelline city; even in the days of the Countess Matilda its inhabitants sided with the imperial party. When the attempt of Frances...o...b..rlammachi to confederate the Tuscan cities failed, the Luchesi formulated the _Martiniana_ Law, which permitted only a few of the leading families to partic.i.p.ate in the government. The result of this was a peace that prevailed for many years. But perhaps the most important historical event that occurred within its walls took place in far earlier days than the sixteenth century. The first triumvirate was formed when Julius Caesar, Pompey, and the wealthy Cra.s.sus met and entered into an agreement whereby the power was divided between the three. More tangible relics of Roman occupation are to be found where the amphitheatre once stood. The oval form of this is well preserved in the extremely picturesque Piazza Mercato--the Market Place. The wooden stalls of the market folk are practically little huts with tiled roofs, that follow the lines of the amphitheatre seats in gracefully curved alleys. In the Pinacoteca may be seen a print dated 1785, in which the s.p.a.ce is enclosed by a high wall. In the centre is a tastefully laid out garden adorned with statues and rose bushes, around which a horse race is in progress. Many columns used in the erection of churches, and fragments of all sorts built into the walls, are evidences of Lucca's importance among the colonies of ancient Rome.

[Ill.u.s.tration: THE PORCH OF THE CATHEDRAL, LUCCA]

The cathedral was founded as early as 573 by S. Frediano. The first building was close to the present Duomo, and was erected on the site of the church of S. Giovanni--a very interesting Lombard edifice. The square baptistery attached to S. Giovanni, with its original waved black and white pavement and ancient square font, is well worthy of study.

Pope Alexander II., who supplied William of Normandy with a holy banner to a.s.sist in the invasion of England, consecrated the cathedral, which, although much altered in the fourteenth century, still bears the impress of the architectural vogue of the tenth. The facade was added in 1204 by Giudetto. A portico of three unequal arches supports three tiers of small arches. These form galleries diminishing in length as they rise one above the other to the horizontal cornice at the top. A magnificent square _campanile_ rises at the south end of the portico. Huge iron braziers stick out under its battlements at the four corners. It seems to crush the arch that springs from one side of its base, out of all proportion with the other two. This is very apparent from a distance, and produces an uncomfortable feeling. But, when one makes the intimate acquaintance of the portico and begins to examine the exquisitely designed arabesques, &c., that decorate its arches, there is nothing but admiration for a mind that could play with stone as Giudetto has done in this case. The piers which support the three round arches have each four slender columns. These are beautifully carved with all manner of intricate patterns. On the central pier Eve is seen tempting Adam to eat of the Forbidden Fruit. They are at the base of a tree, which growing upwards spreads out branches whereon rest the early Kings of Israel and the Prophets. The exterior members of the arches are covered with finely cut foliage. The capitals are formed by the semi-Gothic cla.s.sical acanthus leaves of the period. Above the _abaci_ of the capitals three lions, crouching on consoles or brackets, grip in their thin claws a snake, a dragon, and a demon. Between two of the arches there is a good stone group of S. Martin dividing his coat with a beggar by the use of a bronze sword. The interior wall of the portico has a flat arcade of red marble columns and arches. Three doors give entrance into the cathedral.

Their tympanums are decorated by well-executed reliefs. A double frieze runs along the wall. On the lower portion figures, engaged in agricultural pursuits, and the Signs of the Zodiac are cut; on the upper, the life of S. Martin depicted in a series of panels. Some excellent examples of _graffiti_ work decorate part of the wall. The galleries of the facade are like those that appear in the ill.u.s.tration of the church of S. Michele.

The chief feature of the interior of the Duomo is a fine Gothic triforium. As in Pisa's Cathedral, this goes round the whole nave, transepts, which it also crosses, and choir, stopping short only at the apse. It is formed of double divisions of three pointed and cusped arches, which on the west wall are increased to groups of four each. The transepts are double. A ma.s.sive pier in each carries the triforium across in a most effective manner. The nine bays on either side of the nave have round arches. The fine roof, which is vaulted and groined, is unfortunately spoilt by a very _bizarre_ scheme of colour that is not redeemed by the beautiful gla.s.s in the windows of the apse. Half up the north aisle is an octagonal chapel built of marble, but almost entirely covered with gilt. It is known as the Tempieto, and contains the venerated relic of the Volto Santo, or Holy Face. It is supposed to be an image of Our Lord, executed by Nicodemus, but is evidently a work of the eleventh century carved in two different species of wood. A much finer work of art is the beautiful tomb of Ilaria Caretti in the north transept. With her little dog, emblem of fidelity, at her feet, the figure of this gracious lady lies extended on a n.o.ble sarcophagus.

Little winged _putti_ surround its base, and it ranks among the best productions of the accomplished Jacopo della Quercia.

One of the most perfect Gothic arcades in all Italy is to be found in the church of Sta Maria della Rosa. It is situated close to the Archbishop's palace at the east end of the cathedral. The s.p.a.ces between the pointed arches and the top lights of the church are filled with exquisitely carved cherubs peeping out from a ma.s.s of foliage. In the Piazza dei Servi stands another small church, that possesses a carved wooden roof not in any way inferior to the marvellous one that adorns the Badia in Florence. It was erected during the days when Lucca was a republic, and one panel has the coat of arms of the city, with two great leopards as supporters and "Libertas" for a legend.

The church of S. Frediano is close to the city walls. Its fine tower is seen on the right in the ill.u.s.tration. Frediano, or "Fair Hair," was a son of a King of Ulster. Trained in Galloway, he travelled to Rome, where he was well received by Pelagius I., and housed in the Lateran. He became Bishop of Lucca in 565, and after the destruction of the first cathedral by the Lombards commenced the erection of the present archi-episcopal edifice. The church is full of interest, and contains the huge rectangular block of stone, computed to weigh three tons, which the saint lifted into a cart drawn by oxen, and which was to be used in the building of his cathedral. There is a fine circular font in the church, with the Pa.s.sage of the Red Sea carved on its panels by the unknown Magister Robertus. Close to this, in the chapel dedicated to the patroness of domestic servants, Sta Zita, is a good example of Giovanni Della Robbia's work. Most of the church is built from the stones of the Roman Amphitheatre. The altar is placed at the west end. The facade is a very dignified composition, in which an Ionic colonnade and a good mosaic of our Lord in glory play an important part. The grand _campanile_, however, is its glory. This rises with tiers of open arches; but here they depart from the usual plan and increase in pairs.

One tier of a single pair is the lowest; above are two of three arches, and the next two of four arches. Two sides of this splendid tower are of greater width than the others.

[Ill.u.s.tration: LUCCA FROM THE CITY WALLS]

In the sketch a distant tower can be seen on which is growing a clump of trees. It is attached to the beautiful, red-brick Palazzo Borghi, one of the two fine palaces in Lucca built in the Venetian Gothic style. The story goes that the tower was built by Paolo Guigni, and that on its top he planted trees, under which he gave a series of banquets to show his indifference for the enemy who were then besieging the city. A very pleasant walk leads us along under the grand limes and elm trees that compose the shady boulevards on Lucca's old walls. Many a good study of roofs and distant mountains, in which the bare crags and rugged peaks of the Carrara range form a fine background, can be obtained from these walls; and many a beautiful peep through the foliage on to gardens below will reward the painter who strays out of the accepted route and makes a sojourn in the bright little city.

The church of S. Michele has the most striking facade of any so-called Pisan-Gothic building. It is another work of Giudetto's, but is anterior to that which he added to the cathedral. It is interesting to note how the fine colonnade at the base of S. Michele's facade was amplified in the later work of the cathedral by the portico which takes its place.

Between the columns of this colonnade the closed lozenge-shaped lights, a familiar feature in the churches of the Pisan style, give a certain amount of solidity by their deep shadows. Above is an open gallery, under which is a marvellously intricate frieze of arabesques. Some of the pillars of this gallery are covered with inlaid marble, others are twisted or decorated with chevrons. On two of them repulsive-looking dragons, snakes, and demons crawl downwards in high relief. At each end is a cl.u.s.ter of four slender columns bound by knots. The capitals are boldly cut, with heavy square _abaci_, from which bosses and floral work protrude. The corbels of the round-headed arches are composed of heads of animals and demons, and the arches themselves are beautifully inlaid with geometrical designs. The frieze above is divided into panels of _graffiti_, wherein lions, goats and birds, &c., are depicted in all sorts of att.i.tudes. The gallery above this is very similar, but with even better pillars supporting its arches. It slopes upwards from the gable ends. Then comes the strange and airy feature of this remarkable facade--a false gable with two galleries ending in a pointed apex. Standing on canopied turrets at each end of the gable are angels blowing bronze horns. Their robes are embroidered with inlaid marble and their outspread wings are of bronze. On the _acroteria_, or pedestal, at the top, is a colossal statue of S. Michael with vestments adorned by a gilded pattern. His wings are formed of separate bronze plates to diminish wind pressure, and make a good note of colour against a blue sky. At the back of this false gable a flight of steps ascends from the roof to the statue. As will be seen in the ill.u.s.tration, the colonnade is carried along the other walls of the church and _campanile_. This again is a grand tower and like that of S. Frediano has two sides greater than the others. The interior of S. Michele is very simple, very beautiful and dignified, and quite unspoilt by any whitewash or colour.

[Ill.u.s.tration: S. MICHELE, LUCCA]

There are many other churches worthy of description if s.p.a.ce allowed, but pa.s.sing mention must be made of the earliest known work of Niccol Pisano. This is a relief of the "Deposition from the Cross" in the tympanum of the arch of a side door at S. Martino. There is much else to see in the compact and well-ordered little city that is situated so beautifully in a great bowl with mountains on every side. Much, too, to wonder at in the legend S.P.Q.L. that the _municipio_ still writes up on public notices as a reminder of the days when its inhabitants made the laws that governed the Republic of Lucca.