The southern side of the church gives a very fair idea of what the general character of the original building of 1134 was. The windows were very plain, the walls lofty, the roof flat, and ornamented with corbel-tables up the gables and under the eaves, and pilasters were used at intervals instead of buttresses. There is a central octagonal lantern which may be old, but which is entirely modernized. The most interesting remains are the various apses already mentioned. They are of two divisions in height, the lower adorned with very lofty, boldly-moulded arcades, above which is an elaborate cornice, and above this again a low arcade on detached shafts, behind which the walls are considerably recessed to form galleries which produce a very deep shadow. The capitals are elaborately carved, and the upper cornice is again very rich. Altogether, little as remains unaltered of the old fabric, it is enough to give an idea of a very noble and interesting phase of art. Near a doorway into the north chancel-aisle the external walls have traces, faint and rapidly decaying, of some very exquisite frescoes or, more probably, tempera paintings. [Illustration: CAMPANILE--BERGAMO.] The steeple is in a most unusual position--east, namely, of the south transept--not less, I believe, than some three hundred feet in height, of good and very simple pointed character, without any approach to buttressing, and remarkable as having an elaborately arcaded string-course a few feet below the belfry windows, which have geometrical traceries enclosed within semi-circular arches, affording, like the south transept porch, a curious illustration of the indifference of Italian architects to the use of the pointed arch where strength was not of consequence. Italian campanili have quite a character of their own, so distinct from and utterly unlike the steeples of Northern Europe, that this, the first Gothic example I had seen, interested me exceedingly. Perhaps its detail was almost too little peculiar, if I may venture to say so; for certainly it has left no such impression of individuality on my mind as has the beautiful campanile to whose grace so much of the charm of Verona is due.