45. One other distinction we must notice, in the treatment of the Niche and its accessories. In Northern Gothic the niche frequently consists only of a bracket and canopy--the latter attached to the wall, independent of columnar support, pierced into openwork profusely rich, and often prolonged upwards into a crocketed pinnacle of indefinite height. But in the niche of pure Italian Gothic the classic principle of columnar support is never lost sight of. Even when its canopy is actually supported by the wall behind, it is apparently supported by two columns in front, perfectly formed with bases and capitals:--(the support of the Northern niche--if it have any--commonly takes the form of a buttress):--when it appears as a detached pinnacle, it is supported on four columns, the canopy trefoliated with very obtuse cusps, richly charged with foliage in the foliating space, but undecorated at the cusp points, and terminating above in a smooth pyramid, void of all ornament, and never very acute. This form, modified only by various grouping, is that of the noble sepulchral monuments of Verona, Lucca, Pisa, and Bologna; on a small scale it is at Venice associated with the cupola, in St. Mark's, as well as in Santa Fosca, and other minor churches. At Pisa, in the Spina chapel it occurs in its most exquisite form, the columns there being chased with checker patterns of great elegance. The windows of the Florence cathedral are all placed under a flat canopy of the same form, the columns being elongated, twisted, and enriched with mosaic patterns. The reader must at once perceive how vast is the importance of the difference in system with respect to this member; the whole of the rich, cavernous chiaroscuro of Northern Gothic being dependent on the accumulation of its niches.