There is one point in which a curious practical difference exists between our old work and most old Italian. Here it was not the custom to have keystones to pointed arches, whilst there it is quite the rule to have them; this may have been partly, perhaps, because it was a matter of convenience to mark the central stone in arches composed of alternate voussoirs of brick and stone, and it may have been partly some relic of Classic traditions: not only, however, is there a keystone, but sometimes, as in the Broletto at Brescia, this is additionally distinguished, above the rest of the stone voussoirs, by some small ornament carved upon it. With one more fact I think I may end what I have to say on this head: this is with reference to the mode in which some of the Italian brick arches very beautifully follow the fashion, not so uncommon in stone, of increasing in depth as they approach the centre. In this manner, one sometimes sees an arch whose outer circumference is pointed, whilst its inner line is a semicircle. This was a fashion most popular in Florence, and not so common in Northern Italy; still it is to be seen at Monza, Verona, and elsewhere. The effect is always very good, and, though quite unknown to our forefathers in England, may well be introduced in our works, as it gives great appearance of strength, and is no doubt, at the same time, the strongest possible form of arch. No one can deny that the study of Italian brickwork must be useful to those who are compelled, as we so often are, to use the same material in buildings for whose good architectural effect and character we are anxious. But, far as it is in advance of most ancient brickwork in England, there are points in which we must refuse to follow it; we need not, for instance, in attempting to rival its beauties, confound them with faults which were essentially those of the whole Italian style, and not specially of Italian brickwork. We may with the greatest advantage emulate the Italian system of brick-window tracery, whilst we take care never to imitate the equally common custom in Italy of erecting sham fronts in order to display our traceries. Again, though they never used any but red bricks, there is no reason why we should not enliven our work with the contrast of other colours. Germany gives us examples of green and black bricks, and, indeed, Italy affords some (e.g., Sant’Antonio, in Padua, Murano, and Torcello) of a yellowish brick; and, no doubt, the effects producible by these contrasts of colour are such as Italian architects were always ready to avail themselves when they had the opportunity. This their parti-coloured works in marble sufficiently prove; but at the same time it was seldom that they ventured upon such works in brick; and as it must be admitted that there is no sort of work which so much requires skilful handling, or which is so liable to degenerate into vulgarity, as this, it is probable that they advisedly abstained from it.