of the most picturesque things in Verona.

Unfortunately

the campanile does not equal in importance the church to which it belongs.

The west end will be best understood by the accom panying sketch. It is constructed entirely in red brick and warm-coloured stone, and I confess that it impressed me most pleasantly, as having in its four delicate lancet windows some sort of affinity to our own English work. The north porch is very fine of its kind, and the jambs of its doorway are constructed of black, white, and red marble, used alternately. The arcading against the walls is noticeable as shewing the use of thin courses of red brick for the purpose of defining the lines of the stonework.

The monuments on each side of the west door are good simple examples of a favourite Italian type. They are, as we shall see, of all dates, and even when developed to a great size, are still corbelled in the same way out of the walls. In the North of Europe, we have no analogous treatment of monumental memorials, and this rather enhances their value. The arch to the monument on the left of the west doorway is painted in a charmingly simple Giottesque style, and there is a painting also behind a modern statue in the door-arch, of Our Lord surrounded by angels. In the arcades above the monuments there were figures of saints painted, with imitations of mosaic. All these details are worth mentioning in order to give some idea to those who have not seen Verona, of the extent to which everywhere the eye is feasted with remains of early art. Indeed, one feasts uninterruptedly there on all that can delight the eye in form and in colour!

With the mention of one more church I believe I may bring my notes in Verona to an end, and this is a small chapel which stands just opposite the south side of the Duomo, and whose name I could not learn. It is much like

San Pietro Martire in its general arrangement, but remarkable for the exquisite beauty of its windows, the arrangement of the bricks and stonework in which is beyond all praise. These windows are constructed with trefoiled heads of stone, enclosed within an arch of mixed stone and brick, round whose outer edge runs a band of delicate terra-cotta ornament. The spandrels of the trefoils are filled in with refined sculpture, instead of being pierced with the dark eye usually found in northern Gothic. There is, too, an entire absence of mouldings, yet, notwithstanding this, the general effect is one of combined delicacy and richness of no common kind, so much does carefully-arranged and contrasted colour do for architecture. A third window is entirely of brick, save the trefoil head of the opening. The side elevation of this little chapel is very singular in its whole arrangement; there are three bays divided by pilasters, which finish at the top in an arcaded cornice of brick; in each of the two western bays is a lancet window, and the centre bay has in addition a doorway, and a corbelled out monument above it; in the eastern bay the window looks just like one of those curious English low side windows, as to the use of which we have had so many ingenious theories; the east end has no trace of any window, and is finished with a flat-pitched roof, and a brick corbel-table running up the pediment. There is no stone used except in the windowheads and arches.

There are many other churches in Verona on both sides of the river, and into several of them we went, but without finding any of equal merit to those which I have already noticed. Santa Eufemia has a fair west front, of late pointed, and we found one or two good cloisters just like those mentioned at Brescia. Other churches have fronts built, and interiors remodelled, by Sanmichele and his successors, in a style which by no means approved itself to me; others

4. Cornice Broletto Brescia. 5. Window in Broletbe, Monza.
6 Wall Arcade S. Fermo Maggiore.

Vicent Brooks Day Salah

there were which I did not succeed in reaching,' and there is one dedicated in honour of S. Thomas of Canterbury, which is not, however, otherwise of any interest; it has a very late Gothic west front, of poor character.

It is impossible to walk about Verona without meeting at every turn with windows whose design is similar to those so often seen in Venice, but the execution and arrangement are generally so inferior here to what they are there, that I shall defer saying

much about them until I am describing the palaces and ancient buildings of Venice. They are almost always finished with ogeed trefoils at the top, and are arranged singly, or in couples or more together, and one above the other, the same in each story of the house; their mouldings are thin and reedy, and the carving of their finials, when they have any, is very poor. Examples of these windows will be seen by most travellers in the rooms of the Albergo delle Due Torre.

G.JEWIT.Sc.

The views from the bridges across the Adige are very striking. The main part of the city is on the right bank, and the river describes nearly a semi-circle round it. The opposite bank is only partially built over, and has a largish suburb, upon rather rapidly rising ground; beyond this the walls of the city are seen with occasional towers, and marked

The most important of these is the interesting church of San Stefano in the suburb on the opposite side of the Adige. It has been much modernized, but has still, I believe, an early crypt and an octagonal steeple over the crossing, of the same age as San Zenone.