+INTERIOR TREATMENT.+ It was doubtless intended to cover these large unbroken wall-surfaces and the vast expanse of the vaults over naves of extraordinary breadth, with paintings and color decoration. This would have remedied their present nakedness and lack of interest, but it was only in a very few instances carried out. The double church of S. Francesco at Assisi, decorated by Cimabue, Giotto, and other early Tuscan painters, the Arena Chapel at Padua, painted by Giotto, the +Spanish Chapel+ of S. M. Novella, Florence, and the east end of S. Croce, Florence, are illustrations of the splendor of effect possible by this method of decoration. The bareness of effect in other, unpainted interiors was emphasized by the plainness of the vaults destitute of minor ribs. The transverse ribs were usually broad arches with flat soffits, and the vaulting was often sprung from so low a point as to leave no room for a triforium. Mere bull’s-eyes often served for clearstory windows, as in S. Anastasia at Verona, S. Petronio at Bologna, and the Florentine Duomo. The cathedral of +S. Martino+ at Lucca (Fig. 149) is one of the most complete and elegant of Italian Gothic interiors, having a genuine triforium with traceried arches. Even here, however, there are round arches without mouldings, flat pilasters, broad transverse ribs recalling Roman arches, and insignificant bull’s-eyes in the clearstory. [Illustration: FIG. 149.--ONE BAY, NAVE OF CATHEDRAL OF SAN MARTINO, LUCCA.] [Illustration: FIG. 150.--INTERIOR OF SIENNA CATHEDRAL.]