The porch on the east side of the south transept, of which I give an illustration, is one of the most interesting portions of detail in the building. Its front is supported on two shafts, one of which is an octagon, resting on the back of a lion, the other four shafts cut out of a single block and ingeniously knotted together in the centre, and resting on the shoulders of four sitting figures--altogether about as strong an illustration of mediæval love of change and variety as could be found. It must have been the work of a sculptor who was just a little savage with the somewhat tame uniformity of the whole of the architectural scheme of the cathedral. I found little else to see in Trent. Sta. Maria Maggiore has a Romanesque steeple, quite plain below, but with its two upper stages arcaded, the arcades resting in the lower stage on shafts coupled one behind the other, and in the upper tripled in the same way. I do not remember before to have seen this last arrangement. A tower in the walls between this church and the cathedral is a rhomboid in plan, and was, I suppose, built of this strange shape to suit some necessity arising out of the position of streets and walls. Considerable portions of the walls remain; they are of stone, finished on the top with the forked Italian battlement, and having square projecting towers at short intervals. Trent Cathedral and the fine church at Innichen in the Pusterthal, are quoted frequently as the two finest churches in Tyrol. That at Innichen has not the same entirely Italian character which marks that at Trent. In the latter I always feel that climate, people, and town are all in concert to make one suppose oneself in Italy, which certainly is not the case at Innichen. North of Trent the architecture of the Tyrol (as at Botzen and Meran) is entirely German, whilst in Trent itself, were it not for a steep roof here and there covered with bright glazed tiles, and a few such slight indications, no one would suspect the presence of any German influence whatever.