On first sight Sant’Antonio certainly does not prepossess the beholder in favour of such a bold departure from every-day rules of art. It is built almost entirely of a light red brick, not much better than the common London brick in colour--a poor material wherewith to attempt the construction of a noble church. Stone is used very sparingly in the voussoirs of the arches and elsewhere. The cupolas are heavy in their effect, but relieved by that over the intersection of the nave and transepts, which rises higher than the others, and is certainly striking in its design and outline, which is, for the main portion of its height, that of a simple cone. [Illustration: GROUND PLAN--SANT’ANTONIO, PADUA.] Round and pointed arches are used indiscriminately, and the walls are divided everywhere by pilasters, and surmounted by arcaded corbel-tables, in all these respects giving the building the appearance of being much earlier than it is. The west front is very peculiar, and recalls the fronts of the churches in Vicenza which I have described, and is entirely unlike any of the churches of Pisa, which would hardly have been the case had it really been designed by Nicola Pisano. One great flat gable with an arcaded eaves-cornice finishes the whole, and out of its apex rises a tall polygonal turret, almost as high as the dome in front of which it stands. The lower part of the west front has a central entrance of mean character, and on either side two unequal arches of construction, the walls within which are pierced with windows. Above these, and just beneath the great pediment-like gable, is a long arcade of simple pointed arches, behind which are a passage and three windows opening into the church. This front is a sham front, and not excusable on account of its grandeur or its beauty. Indeed, had it followed the outline of the fabric, it would have been neither ungainly nor heavy, both of which it most assuredly is now. The interior is striking from its height, but cold in the extreme in effect; the domes are all whitewashed in the brightest and freshest manner. The plan gives three domes to the nave, one and an apse of seven bays to the choir, and one to the transept. The aisles open into the nave with pointed arches--two to each dome. The choir aisle is continued all round the choir, and a chapel is thrown out to the east of this, which is again crowned with a dome. The north transept contains the chapel of the patron saint, full of gorgeous ornaments of all kinds, but not very ancient. Opposite it, in the south transept, is a curious groined chapel, divided from the church by five pointed and trefoiled arches of yellow marble, resting upon Classical-looking columns, and all very richly painted and inlaid. Above the arches are five statues in niches, and the intermediate wall-surface is inlaid with white and red marble in a regular pattern, such as we have seen in the pavement of Sta. Anastasia at Verona, with very good effect.