pillar, in Italian braccia, palmi (four inches each), and inches:—
| Braccia | Palmi | Inches | Total in Inches | ||||
| 1. | Central door | 8 | 0 | 0 | = | 192 | |
| 2. | Northern door | 6 | 3 | 1 ½ | = | 157½ | |
| 3. | Southern door | 6 | 4 | 3 | = | 163 | |
| 4. | Extreme northern space | 5 | 5 | 3½ | = | 143½ | |
| 5. | Extreme southern space | 6 | 1 | 0½ | = | 148½ | |
| 6. | Northern intervals between the doors | 5 | 2 | 1 | = | 129 | |
| 7. | Southern intervals between the doors | 5 | 2 | 1½ | = | 129½ |
There is thus a difference, severally, between 2, 3 and 4, 5, of five inches and a half in the one case, and five inches in the other.
X. This, however, may perhaps be partly attributable to some accommodation of the accidental distortions which evidently took place in the walls of the cathedral during their building, as much as in those of the campanile. To my mind, those of the Duomo are far the more wonderful of the two: I do not believe that a single pillar of its walls is absolutely vertical: the pavement rises and falls to different heights, or rather the plinth of the walls sinks into it continually to different depths, the whole west front literally overhangs (I have not plumbed it; but the inclination may be seen by the eye, by bringing it into visual contact with the upright pilasters of the Campo Santo): and a most extraordinary distortion in the masonry of the southern wall shows that this inclination had begun when the first story was built. The cornice above the first arcade of that wall touches the tops of eleven out of its fifteen arches; but it suddenly leaves the tops of the four western-most; the arches nodding westward and sinking into the ground, while the cornice rises (or seems to rise), leaving at any rate, whether by the rise of the one or the fall of the other, an in-
