Lombardy, in the north, had witnessed a singular blending of the old classic art with the vigorous traditions and myths of the Longobards and the symbolisms of the old Byzantine, thus producing the architecture known as Lombardic, with its multiplicity of small columns and arches, quaint imagery of sculpture, and the frequent use of a lion or dragon as a support for the columns. These are features of the early art at Lucca, and at Bergamo, Padua, Verona, and other towns in Lombardy; a beautiful illustration from Lucca is given in the appendix to Ruskin’s “_Stones of Venice_,” Vol. 1. Contemporary with this period came the Gothic influence with its clustered columns, pointed arches, its cusps and crockets, and its strong vitality, impressing the arts and architecture with this Gothic personality; hence, during the 12th and 13th centuries in Italy, this intermingling of styles, traditions, religious beliefs and myths, produced an art barbaric and vigorous in character, the imagery full of suggestiveness, and the detail rich and varied in conception. Yet it was but the herald of a style which culminated in the glorious epoch of the Renascence, a style where symmetry was to play an important part, as in classic art, where refinement of line and detail, of culture and craftsmanship, are found; and which, though beautiful in proportion, unity of parts, and perfect adaptability, yet lacked that symbolism, suggestiveness, inventiveness, and rugged personality of the early Byzantine, Lombardic and Gothic styles. ITALIAN Renascence is broadly divided into three periods. Tre-cento, A.D. 1300 to 1400; Quattro-cento, A.D. 1400 to 1500; and Cinque-cento, A.D. 1500 to 1600. In the Tre-cento style this intermingling of the classic details with the Lombardic and Gothic constructions produced such remarkable buildings as S. Maria della Spina, and the Campo Santo at Pisa, by Giovanni Pisano 1240-1320; the Palazzo Vecchio, the Church of Santa Croce, and the Cathedral of Florence, by Arnolfo di Cambio (1232-1310), with its alternate courses of black and white marble, and its Gothic arches and tracery; the beautiful Campanile by Giotto (1276-1336) is a noble accessory to Arnolfo’s Cathedral. A charming illustration of this Tre-cento period, from Giotto’s Campanile, is the frontispiece to Ruskin’s “_Seven Lamps of Architecture_.” The sculpture and decorative arts of this period are marked by dignity of conception, and a mingling of Gothic and classical traditions. Perhaps the earliest examples known are the hexagonal pulpit in the Baptistery at Pisa, a similar one in the Cathedral at Siena, and the fountain at Perugia, all by Nicolo Pisano (1206-76). He was assisted in much of his work by his son Giovanni, who also executed the pulpit in the Cathedral at Pisa. Andrea Pisano (1273-1344), a pupil of Giovanni executed a beautiful bronze gate or door, cast in 1332, for the Baptistery at Florence.