dominant style of architecture, and wears such an appearance as ten centuries of weather and vicissitudes may well give a church. The grand old tower is fitting, as a human creation may ever hope to be, the prospect it overlooks. Its massive sides are pierced by three orders of double-arched windows, supported by columns and piers, and each order defined by a string course, or corbel-table, of shallow arches, which takes, perhaps, something from the height of the tower, but emphasizes the solidity of its structure. Unlike most towers in this region, it carries no battlements, but is finished by a low, plain roof. The façade of the church is strikingly plain, broken only by a single cornice, string course, and short pilasters. The main door alone retains a hint of former grandeur in its foliated arch and sculptured architrave, once guarded by two Lombardic lions, one of which has fallen from its high estate. The front and side walls are pierced irregularly with small windows of varied shape and size. [Illustration: _Alinari_ INTERIOR OF THE CATHEDRAL OF BARGA] The interior is plain, resembling an ancient basilica in form, and divided into nave and aisles by piers supporting broad, semi-circular arches, and over all a good, open-timbered roof. The tribune, or choir, is raised above the nave by three steps, and separated from it by a low marble screen or _parapetto_. An ancient-looking holy-water stoup, carved with rude heads and designs, stands by a pillar on the north side of the nave, but the great treasures of the church are its choir-screen and pulpit. The screen consists of panels of pale red marble delicately veined, set in frames, or borders, of white Carrara, inlaid with black _smalto_, or enamel, in various designs and symbolic geometrical figures. That part of the screen near the pulpit is further enriched by a row of small, well-modelled heads, some of which, evidently portraits, are encircled by crowns. The pulpit must certainly be reckoned among the best ones in Tuscany; its author is unknown, but it probably belongs to the thirteenth century, about the time of the Pisani, possibly earlier. The richness of detail, dignity and expression of the rather stiff figures, suggest the work of Guido da Como. [Illustration: _Alinari_ PULPIT (13th CENTURY) IN THE CATHEDRAL OF BARGA] The pulpit is rectangular, and supported on four marble columns, two of which rest on the backs of lions, overcoming symbolic forms of evil. Another rests on the shoulders of a man, perhaps the artist, and all the capitals are elaborately sculptured in varying designs, one bearing the forms of eagles and animals' heads.