HISTOKICAL AND AECHITECTUKAL SKETCHES : CHIEFLY ITALIAN. CATHEDRAL, AOSTA, S.E. Frontispiece. HISTORICAL AND ARCHITECTURAL SKETCHES : CHIEFLY ITALIAN. EDWARD A. FEEEMAN, D.C.L., LL.D., LATE FELLOW OF TRINITT COLLEGE, OXFORD, CORRESPONDING MEMBER OF THE IMPERIAL ACADEMY OF SCIENCES OF SAINT PETERSBURG. WITH TWENTY-TWO ILLUSTRATIONS \_FROM DRAWINGS BY THE AUTHOR. ICxrnbxm: MACMILLAN AND CO. 1876. All Rightr Reserved. LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMEOKD STBEKT AND CHARING CROSS. PEEFACE. THE following pieces, with two exceptions, are re- printed from the Saturday Review. That headed " Trier " appeared in the Pall Mall Gazette, and that headed " Vercelli " is now printed for the first time. My best thanks are due to the Editors of the two papers concerned for the leave kindly given me to reprint the articles. Some of the papers were written at or near the places spoken of, with little or no help from books. Others were written after my return home, with the same means of reference as any other of my writings. I do not doubt that the reader will easily mark the difference between the two classes. All the papers of both classes have been carefully revised, and corrected and improved where there was need ; but I did not think it right to recast the first class of articles, or to take away from them the character of first impressions, even when I might by this means have made them more complete. The illustrations, made by photography from my vi PEEFACE. own pen-and-ink drawings, are an experiment. I fear that the result of the process has been to exaggerate the necessary defects of the rough sketches, and at the same time to take off something from their life and force. But in any case they will serve to give a general idea of the outlines of the buildings repre- sented. I think it right to mention that, just at the time when several of the literary journals had announced that I had this little book in hand, large extracts from the articles in the Saturday Review appeared in a book by Mr. Augustus Hare, called 'Cities of Central and Northern Italy.' This was done without any leave either from me or from the Editor of the Saturday Review, and, by a further breach of the rules of literary etiquette, Mr. Hare thought proper to add my name to pieces which were still anonymous. To conduct of this kind it is hardly needful to give a name. I, like every other scholar, am always glad to find myself quoted in moderation by any brother-scholar. It is another thing to be made wholesale spoil of for the profit of a blundering compilation, whose workman cannot even copy accurately what he in the sense of the wise " conveys " from others. Mr. Hare is very fond of sneering at what he thinks it decent to call the " Sar- dinian government." It would seem that he has learned his notions of the rights of property in those parts of PEEFACE. VII the Italian kingdom where the authority of the " Sar- dinian government " is least fully established. They certainly savour of Calabria and Sicily, rather than of Lombardy and Piedmont. The present collection is wholly Italian, except that to the account of Ravenna I thought it well to join three other pieces, which, as describing Imperial dwell- ing-places elsewhere, had a close connexion historically, though not geographically. Of two of these cities, Ravenna and Trier, I have spoken more at length in articles in the British Quarterly Review ; but, as those articles rather belong to a series of a different character, that seemed no reason for suppressing the papers which gave my impressions on the spot. I hope that I may some day be able to continue the present attempt by other collections, from our own island, from France and other parts of Gaul, from Germany, and, above all, from Dalmatia. Le Mans, June 1st, 1876. CONTENTS. THE VENETIAN MAKCH: PAGE WiJRZBURG TO TRENT 3 ROMANESQUE ARCHITECTURE IN VENETIA 15 ANCIENT VERONA 26 BAVENNA AND HER SISTERS: RAVENNA 39 TRIER 64 AACHEN REVISITED 63 GBLNHAUSEN 73 CENTRAL ITALY: LUCCA 87 PISA 101 F.S8UL.S: 116 THE NEIGHBOUR CHURCHES OF FLORENCE 126 ARIMINUM 135 ANCONA 146 ROME : THE WALLS OF ROME 159 TUSCULUM . 172 x CONTENTS. ROME (continued) : FAG BASILICAN CHURCHES 182 THE GBEAT ROMAN BASILICAS 195 THE LESSER CHURCHES OF ROME 206 MONS SACEB 217 SOUTHERN ITALY: GREECE IN ITA&Y 231 LOMBARDY: ROMANESQUE ARCHITECTURE IN LOMBARDY .... 247 MONZA 260 COMO 272 BRESCIA 282 THE BURGUNDIAN MARCH: VERCELLI 295 AOSTA . . 305 LIST OF ILLUSTRATIONS. PAGE EAST END OP CATHEDRAL, PALACE, &c., TRENT ... . 10 NAVE OP CATHEDRAL, TRENT 11 ST. ZENO, VERONA 17 BAPTISTERY, PADUA 25 APSB OP ST. STEPHEN'S, VERONA 29 ST. APOLLINARIS IN CLASSE 51 GELNHAUSEN CHURCH, N.E 80 ST. MICHAEL, LUCCA, S.W 97 WEST FRONT OP THE DUOMO, LUCCA 97 ST. FREDIANO, LUCCA 98 ARCH AT BEHINI 142 DUOMO, ANCONA, S.W 152 ST. NICOLAS IN CAROEBE, HOME 209 ST. PETER IN VINCULIS, ROME 215 DUOMO, MODENA, S.E 249 INTERIOR OP DUOMO, MODENA 250 ST. AMBROSE, MILAN 253 CAPITALS 255 ST. ABBONDIO, COMO 279 ST. ANDREW, VERCELLI . 300 ARCH AT AOSTA 310 CATHEDRAL, AOSTA, S.E 313 THE VENETIAN MAECH. ALL roads lead to Rome ; and, among all the roads that lead thither, each has some special merit or attraction of its own to plead. To one who is about to enter Italy for the first time, it is hard to pick one out to recommend as distinctly superior to all others. But there is much to be said on many grounds in favour of entering Italy by the Brenner pass. It is a road to be specially recommended to the architectural traveller. By this road he will not enter Italy suddenly ; he will find, long before he reaches the frontier, forms which will prepare him for what is coming, forms which will show him how deep was the artistic influence of Rome on the land whose Kings claimed to be her Emperors. That influence spreads indeed over all Germany, as in truth it spreads over all Western Europe. But he who is making his way into Italy through the Teutonic kingdom will perhaps begin more distinctly to feel its influence if he tarries in the former capital of the eccle- siastical princes of Wurzburg, the city whose Bishops bore the proud title of Dukes of the elder Francia. B 2 4 THE VENETIAN MAECH. The tall towers of the cathedral church, much in the church of St. Kilian, and not a little in the general architecture of Wiirzburg, will make him feel that there, in the heart of Germany, he has come within the direct influence of the art of Italy both in earlier and later times. From Wiirzburg then let him make his start. He will pass along the pleasant banks of the Main ; he will mark the small fortified towns like Heidingsfeld and Ochsenfurt, towns of the smallest size, yet girt about with walls and towers, reminding us of days when no man dared to risk himself beyond the protection of a town wall except those who were strong enough to make their neighbourhood unsafe for others. He will mark here and there, even in a passing glimpse, tall, slender, towers, akin to those of Wiirzburg, again bespeaking the influence of Italy in Northern lands. He may perhaps pass lightly through the artistic capital of Bavaria. If eager either for Italian skies or for Italian bell-towers, he may think it enough to visit the huge Friars' church of brick, of a type so different either from Rostock on the one hand or from Verona on the other. But there he will not fail to do his homage at the tomb of the Bavarian Caesar who fills so large a place in our own history, Lewis, the ally of England, the enemy of Avignon and of France. Innsbruck, with its girdle of mountains, with its richer WUEZBUEG TO TEENT. 5 Imperial store, will be more likely to detain him. He will there perhaps see some signs of nearness to the Southern land in the street arcades ; and, whatever his errand, he will hardly turn away without a sight of the wondrous tomb of Maximilian. He will look round at the royal and princely group which surrounds the stately resting-place of the penniless Emperor-elect; he will look with curiosity on the full features of Charles of Burgundy ; and he will perhaps ven- ture on a smile when he sees among the company a personage so oddly described as " Arthur, King of England." But two forms on the northern side of the tomb will specially attract the eye of the student of Imperial history. King Albert the Second appears with the sacred robe over his armour. But Frederick the Third, on whose person aught of warlike attire may have been thought incongruous, appears in all the splendour of that ecclesiastical garb which re- minded men that the successor of Augustus was, within his own province, no less God's Vicar on earth than the successor of Peter. Innsbruck seen, the wonder-working powers of modern engineering skill will carry the traveller over the great barrier which so long cut off the peninsular lands of Southern Europe from the great central mass. He goes r if between rugged mountains, yet among green and pleasant valleys, dotted with villages and churches 6 THE VENETIAN MAECH. nestling on the mountain-side, each of whose towers may pass for a stage in the great process by which the art of Italy made its way beyond the Alps. He hurries by Brixen, and remembers that in old times that city was deemed the frontier of Italy and Bavaria ; he hurries by Bozen or Bolzano, and feels from the double name that he is still on debateable ground. At last the true border is passed. He has now made his way from the episcopal principality on the Main to another princely bishoprick, placed on the very border of the two chief Imperial kingdoms, a city one event m whose history makes its name familiar to every ear, but which otherwise would be perhaps less known than the seat of the ecclesiastical Dukes of the Franks. Trent, a name borne by two English rivers and at least one English parish, is also the English name of the city which is famous as the seat of what lately was the latest self-styled (Ecumenical Council. Tri- dentum, Trento, Trient, Trent, lies on one of the high roads of Europe, and its position has ever made it a border city. Its present political status is one of the anomalies of the map of Europe. Lying south of the Alps, Italian in speech and bearing in all things the aspect of an Italian city, Trent still remains one of the many outlying provinces which so strangely gather round the royal diadem of Hungary and the archiducal coronet of Austria. It is hard, at first WUEZBUEG TO TEENT. 7 sight, to see on what ground of reason or policy Trent and Aquileia should be denied that union with the one national body which has been already won for Venice and Verona. Yet the paradox is not new. Some influence or other has certainly from early times drawn Trent politically northwards. Though of old times counted as part of the Lombard kingdom, it has been for centuries counted part of that of Germany, and its history under its ecclesiastical princes has been that of a German rather than of an Italian town. In purely Italian history it bears little part, save when it fell under the power of Eccelino in the thirteenth century. Trent had little share in the wars and revolutions of the neighbouring common- wealths of Lombardy. It had more to do with its northern neighbours, vassals, and advocates, the Counts of Tyrol. Yet its architecture, as well as its language, is decidedly Italian ; to a traveller entering Italy by the Brenner pass it will be his first Italian city. For an Italian city he will certainly deem it. What- ever ancient or modern arrangements may have decreed as to its political position, he feels that Trent and the land in which it stands are truly part of Italy. The position of Trent almost forces a comparison with the position of Innsbruck. But in this matter no one can hesitate as to giving the higher place to the 8 THE VENETIAN MARCH. undoubted German city. Both lie among mountains ; but there is this difference, that Innsbruck lies in the strictest sense among the mountains; it is girded by them on every side, while Trent simply has mountains on each side of it. That is to say, Innsbruck lies at the point of meeting of several valleys, while Trent merely lies in the valley between two mountain ranges. Hence, noble as the site of Trent is, it is not like Inns- bruck, where it is hardly possible to look up from any point of the town without seeing each end of the street guarded by Alps. The result is that, while the views round about Trent are nearly equal to those round about Innsbruck, the streets of the town itself do not present such striking and startling contrasts as meet us at every step in Innsbruck. The loss of the noble stream of the Inn is also no small disadvantage on the part of Trent. In architecture, on the other hand, the advantage is no less indisputably on the side of Trent. Innsbruck offers but little beyond some fine street arcades and projecting windows. The churches are worthless ; as Innsbruck never was a Bishop's see, there is no dom, and the principal church, that which contains the tomb of Maximilian, is chiefly remarkable for the perverse ingenuity with which all traces of mediaeval effect have been got rid of from a church evidently of original mediaeval design. Trent, on the other hand, has a noble duomo of the second WUEZBUEG TO TEENT. 9 class, and the other churches, though otherwise of no value, have towers which again help to carry on the line of connexion between the arts of Italy and those of the North, To an eye as yet unaccustomed to Italian forms the first sight of the cathedral church of Trent is very strik- ing. The traveller will most likely first approach it from the north, where the nave and north transept occupy the southern side of the great square of the city. Every- thing at once tells him that he is in Italy. The central cupola, the open galleries running along nave and transept, are features which have their representatives in Germany. But here they seem clothed with a new character and a new meaning ; and the few and small windows, the porch above all, with its columns resting on the backs of lions, are distinctly and characteristic- ally Italian. The student may remark the windows of the aisle, where the double splay characteristic of German Eomanesque is relieved by a profusion of external shafts and arches, in marked contrast to the usage of England and Normandy. He may mark this as a happy means of adorning a feature which, when treated as it commonly is in Germany, always has a certain look of rudeness and bareness. In the wheel window of the transept he will also mark a form of a familiar feature which will show that he has wandered far away from either Lincoln or Amiens. From this 10 THE VENETIAN MARCH. point of view the east end is lost. It is embedded in a mass of buildings of which the most prominent feature is a tower, as tall and almost as slender as an Irish round tower, but with two rows of the characteristic coupled windows with mid-wall shafts. Here too he will mark for the first time the peculiar battlement which, from its frequent use at Verona, has got the name of Scala, while on another machicolated tower which forms part of the group he will see a developed shape of the stepped battlement of Ireland. He will not be inclined to tarry long over the west front, with its incongruous tower ; but, unless he at once enters the building, he will most likely make his way to the north-east, by far the finest point for a general view of the church and its adjoining buildings. The group is a noble one. The central octagon, with its domical covering, rises above the choir and south transept, the latter finished with an attached apse, and with an eastern porch, with the pillar-bearing lions and with one of the pillars itself twisted like the mystic pair at Wiirzburg. The tall aisleless choir, with its gallery, its tall shafted windows, its stately apse unencumbered by surrounding chapels, may perhaps again suggest the memory of Wiirzburg, not indeed in its dom, but in its lesser minster. But in St. Kilian's we see a distinctly classical tinge; while at Trent all is late and richly developed, but still perfectly pure, NAVE OF CATHEDRAL, TRENT. To face page 11. WUKZBUEG TO TEENT. 11 Eomanesque. And this rich Romanesque of the church itself contrasts in a marked way with the adjoining buildings, once the episcopal palace, where we see windows of the ruder German type and an apse of clearly earlier date than that of the church. The machicolated tower also comes in well from the same point. In fact, few more striking groups can be found anywhere. We turn to the inside, and we find something for which the outside has hardly prepared us. The gloom of the church, the low clerestory with its very small windows, is thoroughly Italian ; the absence of the tri- forium is also Italian, and sometimes German ; but the piers, except in their prodigious height, are those of an English or Norman church. We have here neither the square piers of Mainz and Zurich nor the basilican columns of Murano and Torcello, nor yet the alternation of the two in St. Zeno at Verona and St. Burchard at Wiirzburg. The section of the piers and their attached shafts, their capitals, their whole appearance, are all thoroughly Norman, save only that they and the arches which they bear are carried up to a height which is rare in Eomanesque of any kind, and whose proportion is really more like that of the latest English Gothic. But the likeness does not go beyond the proportion. The tall pillars of a church in eastern or western England bear a clerestory which sometimes becomes a very wall 12 THE VENETIAN MAECH. of glass ; those of Trent carry an upper range which is small indeed, and pierced, as the sky of Italy demands, with the smallest of windows. It is hardly conceivable that this nave, formed of six arches such as we have just described, can come from the same hand as the enriched Romanesque of the out- side of the choir. On turning to the local history the matter becomes perfectly plain. Udalric, the second Bishop of that name, was consecrated in 1022; he received the grant of the temporal principality from the Emperor Conrad the Second in 1027, and died in 1055. He rebuilt the church, or at least its eastern part; for his crypt survived till 1740, when it was destroyed to make room for the present high altar. Of the church of the first Prince-Bishop there is no reason to think that any trace remains. Work of his is more likely to be found in the ad- joining buildings than in the church itself. But there seems no absolute necessity to attribute any- thing to an earlier date than the episcopate of Bishop Altmann, who held the see from 1124 to 1149, and who is recorded to have performed a cere- mony of consecration. The arcades of the nave are doubtless his work. But the building received its present character from Bishop Frederick, who reigned from 1207 to 1218, and who, about 1212, rebuilt the choir, enriched the church outside and in with marbles WUEZEUEG TO TRENT. 13 and sculptures, and made some changes in the adjoining palace, which may most likely be traced in the upper range of triple windows. His work gives us a distinct specimen of pure and unmixed Romanesque, of a natu- rally developed round-arched style, admitting of much elegance and refinement, living on into the thirteenth century. The style had thrown off all rudeness, but it had not begun to imitate any features inconsistent with itself. There is no sign of any falling back on merely classical forms, no sign of any striving after those forms of the Northern Gothic whose true spirit Italy could never realize. Already at Trent we have seen enough to tell us that the Romanesque of Italy is a good, pure, national style, which it was pity indeed to exchange for the cold and dead imitations of foreign forms which presently set in. Two other churches, of no other importance in them- selves, claim attention on account of their towers. Santa Maria Maggiore, as being in some sort the scene of the Council, ought to be the most historic monument in Trent. But the church has been rebuilt since those days, and there is certainly nothing about it to attract on its own account. But attached to it is a campanile of pure and noble Italian work, with two ranges of windows with coupled shafts. St. Anne's church has a gabled tower crowned by a spire, which has therefore more of a German look, and it is worth notice that it 14 THE VENETIAN MAECH. has a stage with mid-wall shafts over a stage with pointed windows. The steeple of St. Mary's shows plainly that we are truly in Italy ; but that of St. Anne steps in to show that, though we are in Italy, the land is still only an Italian march. KOMANESQUE AECHITECTUKE IN VENETIA. A VAST deal has been written from various points of view on the ancient architecture of Italy, yet one very important aspect of the subject has, to say the least, never been thoroughly worked out. We mean its rela- tion to the early architecture of Germany, and still more to that of England. The more German and Italian buildings the antiquary examines, the more carefully he compares them with the little which is left in England of the eleventh century and of earlier date, the more fully does he become convinced of the essential unity of the early Romanesque style in all three countries. The buildings in England of the class commonly called " Anglo-Saxon," some of them earlier than the Norman Conquest, some of them a little later, are so few and so rude that we may be easily tempted to pass them by as not being examples of any definite style of any kind. But any one who bears them in his mind as he studies the German and Italian buildings of the eleventh and twelfth centuries will easily recog- 16 THE VENETIAN MAECH. nize them as simply smaller and ruder specimens of the same class. The fact is this : in England a dis- tinctly new style was introduced in the eleventh cen- tury, the Norman style, the novum compositionis genus in which Eadward the Confessor rebuilt the church o Westminster. In that great building age, from the middle of the eleventh century onwards, all the great churches of England were rebuilt in the new style ; the older forms survived only in a few obscure buildings here and there. In Germany and Italy the same age was equally fruitful in buildings ; but there no new style was introduced ; the existing native style was simply improved and developed. The great German and Italian churches of the twelfth century exhibit features which in England we see only in the rudest structures of the eleventh or of a still earlier time. The likeness between our early towers and the Italian campaniles has often been remarked ; in fact, it is more than likeness ; the two things are absolutely the same. It is of course less striking in the grander and richer Italian towers ; but take some of the smaller and ruder. There are towers both in Verona and in Yenice which no one would feel to be out of place in company with Coleswegen's towers at Lincoln. In fact, with such examples as the church of the Apostles and the little church by the great Scala tombs at Verona, it can hardly be said that the English ROMANESQUE AECHITECTUEE IN VENETIA. 17 examples are ruder than the Italian. Yet these towers differ in nothing but their rudeness from the mighty campaniles of Murano and Torcello, and from the noblest of its class on this side of the Hadriatic, the tower of St. Zeno at Verona. The tall, slender, unbut- tressed, tower, with its mid-wall shafts in the belfry stage, with its" ornaments, if it has any, confined to flat pilasters and arcades, is the tower common to all Western Europe up to the eleventh century. We find it in our own island ; we find it over all Germany from Schaff- hausen to Bremen; we find it in the valleys of the Pyrenees and in the heart of the Burgundian Alps. But Italy is its birthplace, and it is in Italy alone that we can study its origin and meaning. What at once distin- guishes the Italian campaniles and the towers which follow their model is their height and the absence of buttresses. This last feature indeed they share with Eomanesque buildings of all kinds ; our own Norman in its purity has no true buttresses ; it never gets beyond flat pilasters. But in the towers of later date the buttresses become features of such special import- ance that an unbuttressed tower strikes us more than any other unbuttressed portion of a building. The height again is a characteristic of bell-towers as bell- towers ; the low massive Norman tower always shows to most advantage as a central lantern ; it is the de- scendant, not of the campanile, but of the cupola. The c 18 THE VENETIAN MARCH. flat pilasters and arcades which are the common orna- ments of Romanesque buildings assume a special pro- minence in the case of these tall towers, whose apparent height and squareness they seem to increase by dividing them by a series of vertical strips. These strips in a ruder form were long ago noticed as a characteristic of the so-called "Anglo-Saxon" style in England; but they are characteristic of it only as being one variety of this common Primitive style. The Italian and the English towers differ, not as members of two different classes, but only as highly finished examples of one class differ from ruder examples of the same. The same truth comes out also, if we look a little more into detail. The long-and-short work at the angles of the English towers, the great slabs of stone used in the construction of early doorways in England, and still more in Ireland all are, as we soon learn at Verona, imitations of Koman masonry. So again, such capitals, if we can so call them, as we see in the tower- arch of St. Benet's at Cambridge are clearly copied from work like that in the archway of the Palace called Theodoric's at Ravenna. The mid-wall shafts of the windows are well nigh universal in the Italian towers, and a little further study of the details of the Italian Romanesque easily explains their histoiy. Next to the introduction of the arch itself, the greatest inven- tion in the whole history of architecture was the EOMANESQUE AKCHITECTTJKE IN VENETIA. 19 improvement by which the architect of Diocletian's palace at Spalato ventured to make an arch spring at once from the capitals of a pair of columns. But this great invention was not at once univer- sally received. In the twelfth-century basilicas of Murano and Torcello the pattern of Spalato is followed in all its fulness, but in St. Zeno at Verona, and even in St. Burchard at Wurzburg, there is some- thing over the capitals more than can be fairly called an abacus, something which is distinctly a memory of the entablature. Long before this, in the basilicas of Bavenna, a large stone, a kind of enormous double abacus, was interposed between the arch and the capital, and, at St. Vital, as often in Byzantine work, this grows into a distinct double capital. In this way it became usual for a shaft to support something with a projec- tion greater than that of a genuine capital. In Italy we find this form used in various positions ; use it in a coupled window, and we may at once get the mid wall shaft. These windows, set in groups of two, three, or four, with mid-wall shafts between each and no shafts in the jambs, effectually distinguish towers of this type from those of the Norman type, where the windows, if they are at all finished, have shafts in the jambs, and where the central shafts are set, not in the middle of the wall, but much nearer its outer surface. A triforium again has much in common with a tower window, and c 2 20 THE VENETIAN MAECH. in the cathedral at Modena we find a distinct example of the mid-wall shaft in the triforium. The form most commonly taken by the stone resting on the shaft, both in such finished examples as St. Zeno and in such rude windows as those of St. Stephen's in the same city, is essentially the same as that of the great Byzantine capitals in St. Vital at Eavenna and St. Mark's at Venice. And a form nearly the same is found in a singular object in the great basilica of St. Apollinaris in Classe, at a date as late, it would seem, as the fourteenth century. This is the support of a stone book, which takes the shape of a more graceful variety of those balusters which range from Jarrow to Tewkesbury, and which is finished with a stone of this kind alike for its capital and for its base. Hardly a detail of our Primi- tive Romanesque can be pointed out which does not appear in a more finished shape in Germany, and still more in Italy. If we go on with the towers, as the strongest case, we shall see that the type which in England lasted only till the eleventh century, and in Scotland and Germany only till the twelfth, in Italy never went out of use at all. A glance at the towers of Verona and Venice soon confirms us in the belief which may perhaps have sug- gested itself to us at Trent, that the type which died out so early in the North can in Italy hardly be said ever to have died out. There are a crowd of towers in EOMANESQUE AECHITECTUBE IN VENETIA. 21 Verona only, towers of much later date, towers of the fourteenth or fifteenth century, contemporary with our later Gothic buildings, the general effect of which does not differ from that of St. Zeno. They still keep the mid-wall shafts, the pilasters and arcades, all that gives the type its peculiar character. The noble campanile of St. Euphemia almost rivals St. Zeno, and there are also very fine towers at St. Firmus, and at the other- wise worthless church attached to the workhouse, the dedication of which we think is the Holy Trinity. There are other towers of nearly the same general effect in which the characteristic details are lost, and are re- placed by the forms either of the pseudo-Gothic of Italy or of the revived classical. The outline is kept, and the same general form is given even to the windows. To go beyond our immediate district, the great square of Bologna is surrounded by a group of towers the town-tower, that of the cathedral, and that of St. Petronius which have forsaken the true Romanesque detail, but which have by no means lost the true Romanesque feeling. And more remarkable still is the tower of the church of St. Peter in the Castle at Venice, which was the patriarchal church till the see was removed to St. Mark's. Let us tell our own experience with regard to it. We saw it first from the water, in the direction of Murano and Torcello. At a distance it had thoroughly the air of a third ancient campanile, 22 THE VENETIAN MARCH. the compeer of those of the two island basilicas. It was only on coming near enough to study the details that we saw that it was really a work of the revived classical style of the sixteenth century. So thoroughly had the architect caught the spirit of a type of which he despised the detail ; so slight is the boundary which, in the native land of both, divides the style which continued Koman forms by unbroken tradition from that which fell back upon them by conscious imitation. Passing from the towers to Romanesque work of other kinds, the great Venetian cities seem on the whole less rich in buildings of that class than some other parts of Italy. Venice, we must never forget, is for our purposes no part of Italy, no part of the dominions of the Western Emperor. It is a fragment of the Empire of the East, which gradually became in- dependent of the East, but never admitted the supre- macy of the West. 'H/iet? Sov\ot Oeko^ev elvat rov 'PtofAaiwv y8a