The view of the west front is certainly very striking. The whole church has been singularly little modernized. By its side to the north is a fine simple red brick tower, I suppose originally belonging to the city walls; behind and near the east end of the church, but visible here, the tall and much-arcaded campanile; and on the other side the little church of San Procolo with a fourteenth-century painting of Our Lord under a gabled canopy overhanging the doorway. The west front of San Zenone is simple but dignified. The nave and aisles are finished with cornices following the flat pitch of the roofs. The walls are divided by many vertical lines of pilasters which rise from the plinth to the eaves-cornice. The main part of this front is stone, but a good deal of marble is used, e.g., the rose window has tracery of red marble enclosed within an order of white marble; the doorway and sculpture are in white marble, once much enriched with colour, and the arcaded band all across the front is of red marble. Add to this that the stone used is all of an extremely warm yellow colour, and an idea may be formed of the effort that was made here in the principal front (as often in Italian churches) to shew that God’s house was the noblest that could be built. The doorway well deserves a chapter to itself. Its lintel has illustrations of the labours of the twelve months, its jambs subjects on the right from the Old Testament, on the left from the New. In front of this door there are detached shafts standing on monsters and supporting a low canopy. An inscription on the façade “Salvet in eternum qui sculpsit ista Guglielmus,” gives the name of the sculptor, the same man probably who about the middle of the twelfth century sculptured the western doorway of the cathedral at Modena. [Illustration: 15. SAN ZENONE. VERONA.] No less worthy of study are the bronze doors of this doorway. Here, as is so often the case in mediæval Italian works, we have the names of the artists employed--Guglielmo and Nicola da Figarola--with the pious expression of hope that he who sculptured the work might be saved eternally. The subjects are very rude in their detail; they illustrate subjects from the Old Testament, and are executed in thin plates of bronze nailed on to the wooden doors. A row of small windows, one in each of the many divisions of the front, extends all across near the top of the porch; whilst above is a large circular window, filled in with wheel tracery, and treated as was not uncommon as an illustration of the Wheel of Fortune. Round this window is an inscription explaining its symbolism.