The brightness of southern suns prevented the adoption of the great windows, adapted to masses of stained glass, which were the ambition of northern architects in the fourteenth century; and the tenacity with which a love for squareness of effect and for strongly-marked horizontal lines of various sorts retained its hold, tended to keep Italian Gothic buildings essentially different from those of northern nations; but the love of colour, the command of precious materials, and of fine sculpture, the passion for beauty and for a decorative richness, and the artistic taste of the Italians, display themselves in these buildings in a hundred ways: all this lends to them a charm such as few works of the middle ages existing elsewhere can surpass. SPAIN.--CHRONOLOGICAL SKETCH. An early, middle, and late period can be distinguished in dealing with Spanish Gothic. The first period reaches to the first quarter of the thirteenth century, the second occupies the remainder of the thirteenth and the fourteenth centuries, the third completes the fifteenth and runs on into part of the sixteenth. The early style is one of much purity and dignity, and is developed directly from the Romanesque of the country. The cathedral of St. Iago di Compostella, a fine cruciform church of round-arched Gothic, with a magnificent western portal,[28] recalling the great lateral porches at Chartres, is an early and fine example. Like other churches of the type in Spain, it is far plainer inside than out, but it is vaulted throughout. The cathedral of Zamora, and those of Tarragona and Salamanca must also be referred to. In each of these, the most thoroughly Spanish feature is a dome, occupying the crossing of the nave and transepts, and apparently better developed than those in early German churches or in Italian ones. It is called in Spanish the _cimborio_. This feature was constructed so as to consist of an inner dome, decorated by ribs thrown over the central space, and carried by pendentives; having above it a separate outer dome somewhat higher and often richly decorated. This feature unfortunately disappeared when the French designs of the thirteenth century began to be the rage. A peculiarity of plan, however, which was retained throughout the whole Gothic period in Spain, is to be found in the early churches; it consists of an inclosure for the choir quite in the body of the church, and often west of the transepts,--in such a position, in fact, as the choir at Westminster Abbey occupies. A third peculiarity is the addition of an outer aisle, not unlike the arcade of a cloister, to the side walls of the churches, possibly with a view of protecting them from heat.