of this church rising close above the sea; far more truly admirable is the effect of the inside, where the coupled columns of the Saracen have been boldly taught to act as the piers of the great arcades, and to bear up above them a massive triforium, which by itself would make us think ourselves in Normandy or England. All the churches of this district have a good deal of their strength underground, and the under-church of Trani is worthy of the building which it supports. The smaller church, All Saints', a charming little basilica with a portico of singular grace, as also several good pieces of domestic architecture, and the general effect of the tower skirted with its dark arcades, all join to make Trani a place which cannot be passed by, though no august form calls on us, as at Barletta, to tarry to pay Cæsar his due homage. But Trani has found something to be said for itself both by pen and by pencil in quite other company. An accident of later times gave it a right to rank, like Brindisi itself, among the Subject and Neighbour Lands of Venice. And Trani has peculiarities of its own. The main features of the style may be studied elsewhere. We long to see Barletta, to tarry to pay Cæsar his due. We long to stop at Bisceglia and Molfetta, of which we read attractive notices; but again we must pick and choose, and Bitonto is the only place on which we can qualify ourselves to speak at all at large, till we come to the head of the whole region at Bari. Bitonto shares a station with San Spirito, but it lies further away from the railway, and that on the inland side, than most of the towns along this line. Its main interest is found in its cathedral church, which in some points prepares us for the buildings of Bari. First of all in point of wonder, though latest in point of date, is the treatment which it has undergone at the hands of modern improvers. A dim remembrance comes to us that we saw something of the same kind in the Dominican church at Perugia; otherwise we ask in amazement why any man should think it an improvement to cut off the whole upper part of a church as seen inside by thrusting in a roof a great deal lower than the original one, and thereby leaving the upper stages outside to stand up in the air, serving no kind of purpose. Yet this has been done both at Bitonto and at Bari. Yet perchance the improvers of modern times might retort on the original architects, and ask why, when they had made three apses at the east end, they presently built up a wall to hide them. This is the arrangement both at Bitonto and in the two great churches of Bari. The notion of Normans working in Italy would almost seem to have been to make an Italian front at one end, and something approaching to a Norman front at the other end. Thus the church of Bitonto has an excellent west front of Italian outline, with details more Italian than Norman, and with the characteristic round window evidently designed from the beginning, though the one which is