Our next object was the Campo Santo, which forms one side of the opening in which the cathedral is situated. The walls, and Gothic tabernacle above the entrance, rising from a level turf, appear as fresh as if built within the present century, and, preserving a neat straw colour, have the cleanest effect imaginable. Our guide unlocking the gates, we entered a spacious cloister, forming an oblong quadrangle, enclosing the sacred earth of Jerusalem, conveyed hither about the period of the crusades, in the days of Pisanese prosperity. The holy mould produces a rampant crop of weeds, but none are permitted to spring from the pavement, which is entirely composed of tombs with slabs and monumental inscriptions smoothly laid. Ranges of slender pillars, formed of the whitest marble and glistening in the sun, support the arcades, which are carved with innumerable stars and roses, partly Gothic and partly Saracenial. Strange paintings of hell and the devil, mostly taken from Dante’s rhapsodies, cover the walls of these fantastic galleries, attributed to the venerable Giotto and Bufalmacco, whom Boccace mentions in his “Decamerone.” Beneath, along the base of the columns, rows of pagan sarcophagi are placed, to my no small surprise, as I could not have supposed the Pisanese sufficiently tolerant to admit profane sculptures within such consecrated precincts. However, there they are, as well as fifty other contradictory ornaments. I was quite seized by the strangeness of the place, and paced fifty times round and round the cloisters, discovering at every time some odd novelty. When tired, I seated myself on a fair slab of _giallo antico_, that looked a little cleaner than its neighbours (which I only mention to identify the precise point of view), and looking through the filigreed covering of the arches, observed the domes of the cathedral, cupola of the baptistery, and roof of the leaning tower rising above the leads, and forming the strangest assemblage of pinnacles perhaps in Europe. The place is neither sad nor solemn; the arches are airy, the pillars light, and there is so much caprice, such an exotic look in the whole scene, that without any violent effort of fancy one might imagine one’s self in fairyland. Every object is new, every ornament original; the mixture of antique sarcophagi with Gothic sepulchres, completes the vagaries of the prospect, to which, one day or other, I think of returning, to act a visionary part, hear visionary music, and commune with sprites, for I shall never find in the whole universe besides so whimsical a theatre. It was between ten and eleven when we entered the Campo Santo, and one o’clock struck before I could be persuaded to leave it; and ’twas the sun which then drove me away; whose heat was so powerful that all the inhabitants of Pisa showed their wisdom by keeping within doors. Not an animal appeared in the streets, except five camels laden with water,