present constructed, on our right. On the left is the huge unfinished façade of the abandoned Duomo of Pietro di Lando and Giovanni di Agostino, with what would have been the principal entrance from the Via di Città. The tricuspidate façade of the present cathedral, in black, white and red marble, covered with statuary, was mainly constructed in the last two decades of the thirteenth century under the superintendence of Giovanni di Niccolò Pisano; but all the chief sculptors of the Sienese school have worked upon it, down to the latter part of the fifteenth century. The majority of the statues that we now see are modern copies of the originals, and almost the whole has been completely restored. The mosaics in the _cuspidi_ are modern Venetian work, from the designs of Mussini and Franchi. Upon the platform is represented in _graffito_ the Parable of the Publican and the Pharisee; similarly, at the three doors, are three scenes from the administration of Holy Orders. These were originally executed in the sixteenth century, but have been restored and altered. Before entering the sacred building, the tablet should be noticed, set into the wall of the Vescovado, the Archbishop's palace on the left: "Hoc est sepulcrum magistri Ioannis quondam magistri Nicolai et de eius eredibus." It is the tombstone of Giovanni Pisano himself, who was buried in the cloister of the Canons, between the Duomo and the Vescovado. The peculiar beauty of the interior of the Duomo is due to the fact that we have Gothic architecture, combined with decoration that is almost entirely in the style and taste of the fifteenth century. Gothic austerity is tempered here with the grace and fascination of the early Renaissance. The terra-cotta busts of the Popes in the cornice along the nave and choir belong to the close of the fifteenth and the beginning of the sixteenth centuries. They make a strangely impressive series, these crowned Vicars of Christ, who Himself is seen in the midst of them, immediately under the eastern window. They stretch from Peter in a continuous chronological line round the church, to Lucius III., who sat on the Throne of the Fisherman from 1181 to 1185, succeeding to Alexander III., when our Henry II. reigned in England. They are solemn and dignified--the ideal Pontiffs of the closing chapter of Dante's _De Monarchia_, "who in accordance with things revealed should lead the human race to eternal life." But there is naturally no attempt or thought of portraiture: some of Hildebrand's infamous predecessors are conceived and represented in the same spirit as he who said: "I have loved justice and hated iniquity: therefore, I die in exile." Below them are similar busts of Roman Emperors, the supreme temporal rulers of the world in Dante's dual scheme, "who in accordance with the teachings of philosophy should direct the human race to temporal felicity."