The tower which is attached to the palace of the Scaligeri at Verona (Woodcut No. 517) is perhaps as graceful as any other, and as characteristic of the Italian principles of tower-building. The lower part is absolutely plain and solid, the upper storey alone being pierced with one splendid three-light window in each face, with a boldly projecting cornice over it marking the roof. On this is placed an octagonal lantern two storeys in height. Had the lower portion of the lantern been broken by turrets or pinnacles at the angles, the effect would have been greatly improved. As it is, it seems only a makeshift to eke out the height of the whole; though the octagon with its boldly projecting cornice is as graceful as anything of the kind in Italian architecture. The campanile attached to the church of St. Andrea at Mantua (Woodcut No. 518) is more nearly Gothic both in design and details. Its vertical lines are strongly marked, and the string-courses and cornices are of moulded brickwork, which is a pleasing and characteristic feature in the architecture of Lombardy. The worst part of this design is the smallness of the octagon and spire, and the unconnected mode in which they are placed on the roof of the tower. The typical example of the Italian towers is that erected close to the Duomo at Florence from designs by Giotto, commenced in 1324, and considerably advanced, if not nearly finished, at the time of his death, two years afterwards. [Illustration: 519. Campanile at Florence. (From Gailhabaud.) Scale 50 ft. to 1 in.] Though hardly worthy of the praise which has been lavished on it, it is certainly a very beautiful building. Being covered with ornament from the base to the summit, it has not that nakedness which is the reproach of so many others, and the octagonal projections at the angles give it considerable relief. Besides this, the openings are very pleasingly graduated. It is virtually solid for about one-third of its height. The middle division consists of two storeys, each with two windows, while the upper part is lighted by one bold opening on each face, as at Prato. All this is good. One great defect of the composition is its parallelism. The slightest expansion of the base would have given it great apparent stability, which its height requires. Another fault is its being divided by too strongly marked horizontal courses into distinct storeys, instead of one division falling by imperceptible degrees into the other, as in the Northern towers. It has yet another defect in common with the Duomo, to which it belongs, namely, the false character of its ornamentation, which chiefly consists of a veneer of party-coloured slabs of marble,—beautiful in itself, but objectionable as not forming a part of the apparent construction.