In church architecture the +east front+ of +S. John Lateran+ in Rome, by _Galilei_ (1734), and the whole +exterior+ of +S. M. Maggiore+, by _Ferd. Fuga_ (1743), are noteworthy designs: the former an especially powerful conception, combining a colossal order with two smaller orders in superposed _loggie_, but marred by the excessive scale of the statues which crown it. The +Fountain+ of +Trevi+, conceived in much the same spirit (1735, by _Niccola Salvi_), is a striking piece of decorative architecture. The Sacristy of St. Peter’s, by _Marchionne_ (1775), also deserves mention as a monumental and not uninteresting work. In the early years of the present century the +Braccio Nuovo+ of the Vatican, by _Stern_, the imposing church of +S. Francesco di Paola+ at Naples, by _Bianchi_, designed in partial imitation of the Pantheon, and the great +S. Carlo Theatre+ at Naples, show the same coldly classical spirit, not wholly without merit, but lacking in true originality and freedom of conception. +CAMPANILES.+ The +campaniles+ of the Renaissance and Decline deserve at least passing reference, though they are neither numerous nor often of conspicuous interest. That of the +Campidoglio+ (Capitol) at Rome, by Martino Lunghi, is a good example of the classical type. Venetia possesses a number of graceful and lofty bell-towers, generally of brick with marble bell-stages, of which the upper part of the +Campanile+ of +St. Mark+ and the tower of S. Giorgio Maggiore are the finest examples. The Decline attained what the early Renaissance aimed at--the revival of Roman forms. But it was no longer a Renaissance; it was a decrepit and unimaginative art, held in the fetters of a servile imitation, copying the letter rather than the spirit of antique design. It was the mistaken and abject worship of precedent which started architecture upon its downward path and led to the atrocious products of the seventeenth century.