When the romantic style of building, which the Comacine Masters had imbibed in Sicily, came in, their serious set-by-rule building went out. The first use they made of their new ideas was to increase the richness of decoration, and this they did by the almost childish expedient of multiplying their old ornaments. Instead of one little pillared gallery on the top of a façade, they now put whole rows of galleries, or covered the fronts all over with them, as in Lucca, Pisa, and Arezzo. There is a very early instance of this in the church of Santa Maria at Ancona, of which we give an illustration. Here the network of arches are not real galleries, but only sculpturesque simulations; each arch is simply placed on the top of the other, without architrave or frieze. The doorway has the usual Comacine interlaced knots and no lions, so the façade may stand as an early sample of the transition into Romanesque, dating about the eleventh century. The style shows a much further advance in Magister Marchionni's façade to the church of Santa Maria della Pieve at Arezzo, which is a fine sample of Romanesque. It was done in 1216. The façade has four rows of arches, one on the other, "growing small by degrees and beautifully less" as they ascend. Of all the hundred columns which support them, no two are alike. They are round, square, octagonal, sexagonal, pentagonal, multi-angular, fluted, twisted, grotesque, crooked, Byzantine, Corinthian, Ionic, Doric, Gothic, Egyptian, Babylonian, caryatid, black, green, white, striped, or inlaid. Some have single bases, a round on a square, or _vice versâ_, and so on _ad infinitum_. Yet with all this variety there is a certain unity of design, which bespeaks a multitude of Masters, each one using his own fancy in his particular part of the work, but one chief to whose general design the masters of the parts are subservient. Ruskin realized the beauty of this variety of idea, though he had not perceived that it came from a multitude of minds working together, when he said--"The more conspicuous the irregularities are, the greater the chance of its being a good style." And again--"The traceries, capitals, and other ornaments must be of perpetually varied designs." [Illustration: CHURCH OF S. MARIA, ANCONA. _See page 242._] The very same style and variety, showing a multiplex manufacture, is displayed by the cathedral, and the church of San Michele at Lucca, and the old church of San Michele in Borgo at Pisa. The two Lucca ones are extremely enriched by friezes of the symbolic animals above each row of arches. The cathedral and tower of Pisa show greater unity of conception.