There are several other churches to be noticed here. The most interesting to me after San Michele is that of Sta. Maria del Carmine, or San Pantaleone (for it seems to rejoice in a double dedication), which, in some respects, is more akin to our northern Gothic work than any other Italian church I have as yet described. The plan and all the details of the interior are exceedingly simple. The nave is divided into four groining bays, each of which has two arches into the aisles; the transept takes one bay and the choir one, and there are an aisle and a row of chapels on either side of the nave, and chapels on the east side of the transept. The only openings between the arches and the groining are small circles by way of clerestory, ludicrously small as compared with the immense space of blank wall below them, which seems to call loudly for decorative painting. The whole of the interior is executed in red brick, which has, however, been much daubed with a coloured wash; its effect is, notwithstanding, very fine and well worthy of imitation. As in Italian churches generally, the choir is very short as compared to the length of the nave. The exterior is even better worth examination than the interior; the design of the west end is an exaggerated example of the mode of finishing west fronts not uncommon in Italian Gothic; it is to some extent a sham, and therefore bad, but there is much which is of value in its detail, as it is even more than usually elaborate; and apart from the general outline of the mass, which pinnacles and pilasters cannot redeem from ugliness, there is considerable beauty in the group of windows and doors arranged so as to rise gradually to the centre. The cornices are very heavy and elaborate, and the whole front may be looked at as a masterpiece of terra-cotta and brick architecture. It is purely Italian in its great breadth and general arrangement, and, I confess, very far from being to my taste, though I could wish that we had more often some of the same breadth and simplicity in our own elevations.