square, and rises by
successive stages, but with only few and small openings or ornaments,
to a considerable height. There are no buttresses, no diminution of
bulk, no staircase turrets. At the summit is an open belfry-stage,
with large semicircular-headed arches, crowned by a cornice and a
low-pitched conical roof.[25]

In the same city a good example of an Italian Gothic church, erected
after the pointed arch had been introduced, may be found in the church
of Sta. Maria del Carmine. The west front of this church is but
clumsy in general design. Its width is divided into five compartments
by flat buttresses. The gables are crowned by a deep and heavy cornice
of moulded brick and the openings are grouped with but little skill.
Individually, however, the features of this front are very beautiful,
and the great wheel-window, full of tracery, and the two-light windows
flanking it, may be quoted as remarkable specimens of the ornamental
elaboration which can be accomplished in brickwork.

The campanile of this church, like the one just described, is a plain
square tower. It rises by successive stages, each taller than the
last, each stage being marked by a rich brick cornice. The
belfry-stage has on each face a three-light window, with a traceried
head, and above the cornice the square tower is finished by a tall
conical roof, circular on plan, an arrangement not unfrequently met
with.

The Certosa, the great Carthusian Church and Monastery near Pavia,[26]
best known by the elaborate marble front added in a different style
about a century after the erection of the main building, is a good
example of a highly-enriched church, with dependencies, built in
brickwork, and possessing most of the distinctive peculiarities of a
great Gothic church, except the general use of the pointed arch. It
was begun in 1396, and is consistent in its exterior architecture, the
front excepted, though it took a long time to build. Attached to it
are two cloisters, of which the arches are semicircular, and the
enrichments, of wonderful beauty, are modelled in terra-cotta.

This church resembles the great German round-arched Gothic churches on
the Rhine in many of its features. Its plan includes a nave, with
aisles and side chapels, transepts and a choir. The eastern arm and
the transepts are each ornamented by an apse, somewhat smaller than
would be met with in a German church; but as a compensation each of
these three arms has two side apse