canopies supported upon trefoiled arches resting on four marble shafts, with a kind of sarcophagus or an effigy beneath; or else, when attached to a wall, they have two detached shafts supporting the same kind of trefoiled arch and surmounted by a flattish pediment. Their effect is almost invariably beautiful in the extreme, and their only defect is, that they all require to be held together by rods of iron connecting the capitals of the columns. This, however, is soon forgotten when one feels that there is no pretence ever or anywhere at its concealment; and notwithstanding this slight defect, one cannot help loving and admiring them; for there is a grace and beauty about the form and proportion of the Veronese trefoiled arch, such as is never seen, I think, elsewhere, and the very flatness of the carving and the absence of deep moulding seem all adopted in order that nothing may interfere with the simple beauty of the outline of the arch. In this case the monument is supported on a large slab of stone corbelled forward and balanced upon the top of a thin wall over the archway which leads into the churchyard of San Pietro. Four shafts with sculptured capitals, resting on the angles of this slab, support four trefoiled arches, (those at the ends narrower than the others), which are almost destitute of moulding save that the outer line of the arch has a broad band of delicate sculpture all round it. The arch terminates in a small cross, and above on each side is a very flat pediment, moulded and finished on the under side with one of the favourite Italian arcaded corbel-tables; the finish is a heavy pyramidal mass of stone rising from behind the pediments. The four bearing-shafts are of white marble, all the rest of the monument of red. Within the four supporting shafts stands a sarcophagus, supported on the backs of couchant lions, very plain, but ornamented at the angles in very Classic fashion, and bearing a recumbent effigy.