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This belltower in the Pisan-Romanesque style was begun in 1173 and started leaning when builders were only on the third level: the weight was too much for the alluvial sub-soil. By 1990, the tower was 4.5 m (15 ft) out of vertical, and it was closed until 2001 for engineers to reverse the tilt. Entrance is by guided tour only.

Italy’s largest Baptistry started life as a Romanesque piece (1153) but has a Gothic dome. The acoustically perfect interior houses a great Gothic pulpit.

Niccola Pisano’s Gothic masterpiece (1255–60;) depicts religious scenes based on pagan reliefs decorating Camposanto sarcophagi.

A Pisan-Romanesque triumph of blind arcades, stacked open arcades and coloured marble decorations. Mannerist artist Giambologna cast the bronze doors to replace those destroyed by fire in 1595.

The architect Buscheto sculpted the only remaining Romanesque bronze doors of Pisa’s cathedral in 1180. He populated them with minimalist biblical scenes and swaying palm trees.

Niccola Pisano’s son, Giovanni, carved this in 1302–11. The Gothic naturalism of its tumultuous New Testament scenes probably reflects the influence of Giotto, who was a contemporary of the artist in Padua.

This former cemetery, containing recycled ancient Roman sarcophagi, once boasted frescoes to rival those in the Sistine Chapel. They were largely destroyed in World War II, but a few sections are preserved in a back room.

This fresco by Buffamalcco is the best of those that survived the bombs of World War II. Its scene of Death riding across an apocalyptic landscape inspired Liszt to compose his Totentanz concerto.

This rich collection includes an 11th-century Islamic bronze hippogriff (half horse, half griffin) – Crusade booty that once topped the cathedral dome. Good Leaning Tower views, too.

In trying to salvage the Camposanto frescoes, restorers discovered earlier preparatory sketches. These offer a unique insight into the creative process of these medieval artists.