tapering open-traceried
spires rising from those at the western end. In the 14th century the
cruciform plan, which had so long prevailed, was replaced in Spain by
one without either aisles or transepts; the buttresses that had
previously been introduced outside the building to resist the thrust of
the vaulting, were brought within the walls so as to make the nave one
vast vaulted hall, flanked by lateral chapels as in the fine Cathedral
of Gerona and the Church of S. Maria del Pino at Barcelona. Later,
however, this comparatively simple mode of structure was superseded by
vast complicated buildings such as the Cathedral of Salamanca and that
of Segovia, both dating from the 16th century, the vaulting of which is
especially complicated, with very ornate ribs, whilst the towers closely
resemble those of contemporaneous Moorish mosques.

The Gothic style, that was alike alien to the Italian temperament and
unsuited to the Italian climate, never really took root in Italy, the
soil of which was thoroughly impregnated with classic traditions. The
horizontal cornice, so characteristic of Greek and Early Roman
architecture is of frequent occurrence, the round arch was long retained
in combination with pointed highly-pitched roofs, and spires are rare,
whilst the beautiful groined vaulting, the flying buttresses, and the
exquisite window-tracery, that lend so great a charm to the cathedrals
and churches of France and England, are very seldom met with. There was
no gradual evolution in Italy from Early to Late Gothic, and for this
reason it is usual to treat Italian buildings in the pointed style in
three geographical instead of chronological groups, namely, the
northern, central, and southern. To the first belongs the Cathedral of
Milan, the largest Gothic building in Italy, the exterior of which is
somewhat spoiled by its over-decorated western facade, though the effect
of the long rows of lateral pinnacles, the numerous flying buttresses,
the low conical dome and lofty spire is very fine. The interior, with
its vast nave, double aisles, and complex apse, its lofty piers, with
capitals consisting of life-sized figures in niches, and its noble
clerestory, presents an appearance of grandeur unequalled by any other
Gothic church in Italy. The Certosa or Carthusian Monastery, the facade
of which is a century older than the rest of the building; the Churches
of S. Maria del Carmine and S. Michele, both at Pavia, the latter with a
ve