ery or arcade. (See ARCHITECTURE, Plate I. fig. 62.)
Owing to the sinking of the piles on the south side, the inclination was
already noticed when the tower was about 30 ft. high, and slight
additions in the height of the masonry on that side were introduced to
correct the level, but without result, so that the works were stopped
for many years and taken up again in 1234 under the direction of William
of Innsbruck; he also attempted to rectify the levels by increasing the
height of the masonry on the south side. At a later period the belfry
storey was added. The inclination now approaches 14 ft. out of the
perpendicular. The outside is built entirely in white marble and is of
admirable workmanship, but it is a question whether the equal
subdivision of the several storeys is not rather monotonous. The
campanili of the churches of S. Nicolas and S. Michele in Orticaia, both
in Pisa, are also inclined to a slight extent.

[Illustration: From a photograph by Alinari.

FIG. 4.--Campanile of the Palazzo del Signore, Verona.]

The campanili hitherto described are all attached to churches, but there
are others belonging to civic buildings some of which are of great
importance. The campanile of the town hall of Siena rises to an enormous
height, being 285 ft., and only 22 ft. wide; it is built in brick and
crowned with a battlemented parapet carried on machicolation corbels,
16 ft. high, all in stone, and a belfry storey above set back behind the
face of the tower. The campanile of the Palazzo Vecchio at Florence is
similarly crowned, but it does not descend to the ground, being balanced
in the centre of the main wall of the town hall. A third example is the
fine campanile of the Palazzo-del-Signore at Verona, fig. 4, the lower
portion built in alternate courses of brick and stone and above entirely
in brick, rising to a height of nearly 250 ft., and pierced with putlog
holes only. The belfry window on each face is divided into three lights
with coupled shafts. An octagonal tower of two storeys rises above the
corbelled eaves.

In the campanili of the Renaissance in Italy the same general
proportions of the tower are adhered to, and the style lent itself
easily to its decoration; in Venice the lofty blind arcades were adhered
to, as in the campanile of the church of S. Giorgio dei Greci. In that
of S. Giorgio Maggiore, however, Palladio returned to the simple
brickwork of Verona, crowned with a belfry storey in stone, with an