Premising thus much, I will ask you to look once more at this cloister of the Campo Santo of Pisa. 35. On first entering the place, its quiet, its solemnity, the perspective of its aisles, and the conspicuous grace and precision of its traceries, combine to give you the sensation of having entered a true Gothic cloister. And if you walk round it hastily, and, glancing only at a fresco or two, and the confused tombs erected against them, return to the uncloistered sunlight of the piazza, you may quite easily carry away with you, and ever afterwards retain, the notion that the Campo Santo of Pisa is the same kind of thing as the cloister of Westminster Abbey. 36. I will beg you to look at the building, thus photographed, more attentively. The "long-drawn aisle" is here, indeed,--but where is the "fretted vault"? A timber roof, simple as that of a country barn, and of which only the horizontal beams catch the eye, connects an entirely plain outside wall with an interior one, pierced by round-headed openings; in which are inserted pieces of complex tracery, as foreign in conception to the rest of the work as if the Pisan armata had gone up the Rhine instead of to Crete, pillaged South Germany, and cut these pieces of tracery out of the windows of some church in an advanced stage of fantastic design at Nuremberg or Frankfort. 37. If you begin to question, hereupon, who was the Italian robber, whether of marble or thought, and look to your Vasari, you find the building attributed to John the Pisan; [1]--and you suppose the son to have been so pleased by his father's adoption of Gothic forms that he must needs borrow them, in this manner, ready made, from the Germans, and thrust them into his round arches, or wherever else they would go. [Footnote 1: The present traceries are of fifteenth century work, founded on Giovanni's design.] We will look at something more of his work, however, before drawing such conclusion. 38. In the centres of the great squares of Siena and Perugia, rose, obedient to engineers' art, two perennial fountains Without engineers' art, the glens which cleave the sand-rock of Siena flow with living water; and still, if there be a hell for the forger in Italy, he remembers therein the sweet grotto and green wave of Fonte Branda. But on the very summit of the two hills, crested by their great civic fortresses, and in the centres of their circuit of walls, rose the two guided wells; each in basin of goodly marble, sculptured--at Perugia, by John of Pisa, at Siena, by James of Quercia.