In most respects the Florence of that day was as fitting a home for a man of genius as could well be imagined. It was full of a life which seemed restless only because the possibilities of improvement for the individual and the community seemed infinite. A true measure of its political progress and of the activity of men's minds is supplied by the changes then being made in the outward aspect of the city. The duties of the Government were as much municipal as political, and it would have surprised a Florentine to be told that the one kind of service was of less dignity than the other. The population grew apace, and, to provide the means for extending the city walls, every citizen, on pain of his testament being found invalid, was required to bequeath a part of his estate to the public. Already the banks of the Arno were joined by three bridges of stone, and the main streets were paved with the irregularly-shaped blocks of lava still familiar to the sojourner in Florence. But between the time of Dante's boyhood and the close of the century the other outstanding features of the city were greatly altered, or were in the course of change. The most important churches of Florence, as he first knew it, were the Baptistery and the neighbouring small cathedral church of Santa Reparata; after these ranked the church of the Trinity, Santo Stefano, and some other churches which are now replaced by larger ones, or of which the site alone can be discovered. On the other side of the river, Samminiato with its elegant façade rose as now upon its hill.[69] The only great civic building was the Palace of the Podesta. The Old Market was and had long been the true centre of the city's life. At the time Dante went into exile Arnolfo was already working on the great new cathedral of St. Mary of the Flowers, the spacious Santa Croce, and the graceful Badia; and Santa Maria Novella was slowly assuming the perfection of form that was later to make it the favourite of Michel Angelo. The Palace of the Signory was already planned, though half a century was to elapse before its tower soared aloft to daunt the private strongholds which bristled, fierce and threatening, all over the city. The bell-tower of Giotto, too, was of later erection--the only pile we can almost regret that Dante never saw. The architect of it was however already adorning the walls of palace and cloister with paintings whose inspiration was no longer, like that of the works they overshadowed, drawn from the outworn motives of Byzantine art, but from the faithful observation of nature.[70] He in painting and the Pisan school in sculpture were furnishing the world with novel types of beauty in the plastic arts, answering to the 'sweet new style' in verse of which it was Dante that discovered the secret.[71]