For the exteriors reliance was placed upon applied embellishments. The side walls, for example, of =Florence= are veneered with marble; those of =Siena= and =Orvieto= with horizontal stripes of black and white masonry. But this colour decoration is a poor substitute for the structural enrichments, the traceried windows, flying buttresses, and mounting roofs of the true Gothic. The Italians concentrated chief ornateness on the west façade; the most celebrated examples being those of =Siena= (1243-1284) and =Orvieto= (1290). They present elaborate compositions of vari-coloured marble, charmingly diversified, nicely balanced, sumptuously elegant and graceful. But compare, for example, Siena with, say, Rheims or Amiens, and how it sinks into insignificance! In the French examples the pointed door-arches start an upward movement which is continued to the top in the organic relations of the parts to one another and to the interior arrangement. But in the Siena façade, the round arches hold the eye down; for their feeling is not repeated in the upper part, which, notwithstanding the gables, turrets, finials, and culminating gable, has no suggestion of growth-up, but is rather a geometric design of curves and triangles, horizontals and verticals, carried up to a height. It is not organically structural; it is a built-up pattern. The designer was a sculptor--Giovanni Pisano. =Campanile.=--The campanile is usually attached to the building. In place of string courses and mouldings are alternate courses of black and white masonry; the sole contrast being supplied by the rectangular window openings, which, possibly to offset the diminishing effect of perspective, increase in number upwards. The low spire is typically Italian Romanesque.