I have now, I think, exhausted the distinguishing features of an Italian church, with the exception of its campanile. This, as I have said before, is always a single steeple (with the perhaps unique exception of Genoa Cathedral, which has two), generally detached from the main fabric, planted wherever it happened to be most convenient; sometimes as at Vercelli, not even at right angles to the building to which it is attached, and with but little reference to its effect upon the remainder of the building. There are no features of Italian buildings which are so universally remembered with pleasure; and similar as they are in their general scheme, there is nevertheless a considerable variety in their treatment in detail. The first thing to be noted is, that they are never supported by buttresses, and that the usual mode of ascent was by a staircase in the thickness of the wall, and not by any such excrescence as a staircase turret. The outline is severely square and simple, and, unlike as it is to most of our English steeples, generally exceedingly striking. No doubt the apparent height of these towers is enormously increased by the absence of buttresses. The originals of all Italian campanili seem to be the early steeples of the Roman churches, divided into a series of stages of equal height, pierced with windows not varying much in design throughout. The most exact reproductions of these steeples may be found so far from the centre of Italy as at Susa at the foot of the Mont Cenis, and in other very similar erections all over the North of Italy. With certain broad general features of resemblance there are, however, several local variations, which may be divided roughly into the following separate classes or schools:--(1) The Pisan: (2) the Venetian and Veronese: (3) the Genoese: and (4) the Florentine: of which I need here only speak of the Venetian and Veronese, which are undoubtedly among the finest. In the Veronese there is a very distinct imitation of the pure Romanesque examples, whilst in the Venetian there is generally less subdivision into stages, the walls being arcaded with very slightly recessed lofty arcades, and the horizontal divisions being much fewer in number. Of these, San Giacomo del Rialto is one of the best examples; it is executed, as all the Venetian examples are, in brick. In all these examples the pilasters at the angles are carefully marked. But there is another variety of distinctly Italian towers in which this is not the case. The finest example of this is the tower of the Scaliger Palace, at Verona, where the simple unbroken mass of masonry and brickwork shoots up into the sky all but unpierced until the belfry stage. Of this kind of tower the examples are not unfrequent in the smaller churches in Lombardy, and in the public halls and private houses of many of the cities described in these pages. The tower at Asti is one of the best of these.