The chief feature of the interior of the Duomo is a fine Gothic triforium. As in Pisa's Cathedral, this goes round the whole nave, transepts, which it also crosses, and choir, stopping short only at the apse. It is formed of double divisions of three pointed and cusped arches, which on the west wall are increased to groups of four each. The transepts are double. A massive pier in each carries the triforium across in a most effective manner. The nine bays on either side of the nave have round arches. The fine roof, which is vaulted and groined, is unfortunately spoilt by a very _bizarre_ scheme of colour that is not redeemed by the beautiful glass in the windows of the apse. Half up the north aisle is an octagonal chapel built of marble, but almost entirely covered with gilt. It is known as the Tempieto, and contains the venerated relic of the Vólto Santo, or Holy Face. It is supposed to be an image of Our Lord, executed by Nicodemus, but is evidently a work of the eleventh century carved in two different species of wood. A much finer work of art is the beautiful tomb of Ilaria Caretti in the north transept. With her little dog, emblem of fidelity, at her feet, the figure of this gracious lady lies extended on a noble sarcophagus. Little winged _putti_ surround its base, and it ranks among the best productions of the accomplished Jacopo della Quercia.
One of the most perfect Gothic arcades in all Italy is to be found in the church of Sta Maria della Rosa. It is situated close to the Archbishop's palace at the east end of the cathedral. The spaces between the pointed arches and the top lights of the church are filled with exquisitely carved cherubs peeping out from a mass of foliage. In the Piazza dei Servi stands another small church, that possesses a carved wooden roof not in any way inferior to the marvellous one that adorns the Badia in Florence. It was erected during the days when Lucca was a republic, and one panel has the coat of arms of the city, with two great leopards as supporters and "Libertas" for a legend.
The church of S. Frediano is close to the city walls. Its fine tower is seen on the right in the illustration. Frediano, or "Fair Hair," was a son of a King of Ulster. Trained in Galloway, he travelled to Rome, where he was well received by Pelagius I., and housed in the Lateran. He became Bishop of Lucca in 565, and after the destruction of the first cathedral by the Lombards commenced the erection of the present archi-episcopal edifice. The church is full of interest, and contains the huge rectangular block of stone, computed to weigh three tons, which the saint lifted into a cart drawn by oxen, and which was to be used in the building of his cathedral. There is a fine circular font in the church, with the Passage of the Red Sea carved on its panels by the unknown Magister Robertus. Close to this, in the chapel dedicated to the patroness of domestic servants, Sta Zita, is a good example of Giovanni Della Robbia's work. Most of the church is built from the stones of the Roman Amphitheatre. The altar is placed at the west end. The façade is a very dignified composition, in which an Ionic colonnade and a good mosaic of our Lord in glory play an important part. The grand _campanile_, however, is its glory. This rises with tiers of open arches; but here they depart from the usual plan and increase in pairs. One tier of a single pair is the lowest; above are two of three arches, and the next two of four arches. Two sides of this splendid tower are of greater width than the others.