+THE TUSCAN ROMANESQUE.+ The churches of this style (sometimes called the +Pisan+) were less vigorous but more elegant and artistic in design than the Lombard. They were basilicas in plan, with timber ceilings and high clearstories on columnar arcades. In their decoration, both internal and external, they betray the influence of Byzantine traditions, especially in the use of white and colored marble in alternating bands or in panelled veneering. Still more striking is the external decorative application of wall-arcades, sometimes occupying the whole height of the wall and carried on flat pilasters, sometimes in superposed stages of small arches on slender columns standing free of the wall. In general the decorative element prevailed over the constructive in the design of these picturesquely beautiful churches, some of which are of noble size. The +Duomo+ (cathedral) of +Pisa+, built 1063-1118, is the finest monument of the style (Figs. 92, 93). It is 312 feet long and 118 wide, with long transepts and an elliptical dome of later date over the _crossing_ (the intersection of nave and transepts). Its richly arcaded front and banded flanks strikingly exemplify the illogical and unconstructive but highly decorative methods of the Tuscan Romanesque builders. The circular +Baptistery+ (1153), with its lofty domical central hall surrounded by an aisle, an imposing development of the type established by Constantine (p. 111), and the famous +Leaning Tower+ (1174), both designed with external arcading, combine with the Duomo to form the most remarkable group of ecclesiastical buildings in Italy, if not in Europe (Fig. 92). [Illustration: FIG. 92.--BAPTISTERY, CATHEDRAL, AND LEANING TOWER, PISA.] The same style appears in more flamboyant shape in some of the churches of Lucca. The cathedral +S. Martino+ (1060; façade, 1204; nave altered in fourteenth century) is the finest and largest of these; +S. Michele+ (façade, 1288) and S. Frediano (twelfth century) have the most elaborately decorated façades. The same principles of design appear in the cathedral and several other churches in Pistoia and Prato; but these belong, for the most part, to the Gothic period. [Illustration: FIG. 93.--INTERIOR OF PISA CATHEDRAL.]