The Renaissance architects developed new types of campanile, and in such variety that they can only be briefly referred to. Some, like a brick tower at Perugia, are simple square towers with pilasters; more often engaged columns and entablatures mark the several stories, and the upper portion is treated either with an octagonal lantern or with diminishing stages, and sometimes with a spire. Of the latter class the best example is that of S. Biagio, at Montepulciano,--one of the two designed to flank the façade of Ant. da S. Gallo’s beautiful church of that name. One or two good late examples are to be found at Naples. Of the more massive square type there are examples in the towers of S. Michele, Venice; of the cathedral at Ferrara, Sta. Chiara at Naples, and Sta. Maria dell’ Anima--one of the earliest--at Rome. The most complete and perfect of these square belfries of the Renaissance is that of the +Campidoglio+ at Rome, by Martino Lunghi, dating from the end of the sixteenth century, which groups so admirably with the palaces of the Capitol. C. +BRAMANTE’S WORKS.+--A more or less animated controversy has arisen regarding the authenticity of many of the works attributed to Bramante, and the tendency has of late been to deny him any part whatever in several of the most important of these works. The first of these to be given a changed assignment was the church of the Consolazione at Todi (p. 293), now believed to be by Cola di Caprarola; and it is now denied by many investigators that either the Cancelleria or the Giraud palace (p. 290) is his work, or any one of two or three smaller houses in Rome showing a somewhat similar architectural treatment. The evidence adduced in support of this denial is rather speculative and critical than documentary, but is not without weight. The date 1495 carved on a doorway of the Cancelleria palace is thought to forbid its attribution to Bramante, who is not known to have come to Rome till 1503; and there is a lack of positive evidence of his authorship of the Giraud palace and the other houses which seem to be by the same hand as the Cancelleria. To the advocates of this view there is not enough resemblance in style between this group of buildings and his acknowledged work either in Milan or in the Vatican to warrant their being attributed to him.