As in some other cases, the thought suggests itself, were not those who left off building the tower wiser than those who began it? The tall bell-towers of Italy look well as they rise from the Lombard plain, as they crown the hill of Fiesole, as they skirt the shores of the lake of Como. But we are not sure that a gigantic tower, which, if it was to have any kind of proportion, ought to have been carried up to a height as great as that of Venice, was in its right place when set a little way up a mountain-side, as if simply to show how small man's biggest works look in the midst of the works of nature. But the technical eye is thankful for the fragment that has been built, though mainly on a very technical ground. Professor Willis is gone, but his happy phrase of _mid-wall_ shafts has not died with him. The custom of the elder Romanesque towers, the abiding fashion of Germany and Northern Italy, was to set the little columns which divided the coupled windows in the very middle of the wall; the latter Norman fashion, whether in Normandy, in England, or in Apulia, was to set them nearly flush with the outer wall. In this tower, Italian by geography, Norman by allegiance, two sides conform to the Italian and two to the Norman fashion. Nothing can show more clearly that even such small matters of detail as the use of a mid-wall shaft were made matters of serious thought, and that it was sometimes thought well to come to a compromise between two rival forms of taste. The outside of this church, except so far as it forms an object in the general landscape, is perhaps chiefly attractive to the technical observer; the inside will surely appeal to every visitor, though the visitor who is technically informed in matters of painting may possibly look upon it with more of curiosity than of positive admiration. But the eye of the more general inquirer will give something like positive admiration to a basilica of eight arches, resting on ancient columns of various marbles, with its original design far less damaged than is common in Italian churches, and with every inch of available space covered with elaborate paintings of the date of the building. Like St. Peter by Pisa, the archangel by Capua trusted to painting for his enrichment and not to mosaics; and though the Campanian pictures are by far the better preserved of the two, though nearly all the subjects can be made out with the greatest ease, yet Ravenna and Venice rise to the mind to make us think that at least if endurance be the object, there is a more excellent way.