Venice. | 16. St. Mark's, upper Colonnade.
3. Nave, Torcello. | 17. Ducal Palace, Venice (windows.)
4. Nave, Torcello. | 18. Ca' Falier, Venice.
5. South transept, St. Mark's. | 19. St. Zeno, Verona.
6. Northern portico, upper shafts, | 20. San Stefano, Venice.
St. Mark's. | 21. Ducal Palace, Venice (windows.)
7. Another of the same group. | 22. Nave, Salisbury.
8. Cortile of St. Ambrogio, Milan. | 23. Santa Fosca, Torcello.
9. Nave shafts, St. Michele, Pavia.| 24. Nave, Lyons Cathedral.
10. Outside wall base, St. Mark's, | 25. Notre Dame, Dijon.
Venice. | 26. Nave, Bourges Cathedral.
11. Fondaco de' Turchi, Venice. | 27. Nave, Mortain (Normandy).
12. Nave, Vienne, France. | 28. Nave, Rouen Cathedral.
13. Fondaco de' Turchi, Venice. |

Sec. VI. Eighteen out of the twenty eight varieties are Venetian,
being bases to which I shall have need of future reference; but the
interspersed examples, 8, 9, 12, and 19, from Milan, Pavia, Vienne
(France), and Verona, show the exactly correspondent conditions of the
Romanesque base at the period, throughout the centre of Europe. The last
five examples show the changes effected by the French Gothic architects:
the Salisbury base (22) I have only introduced to show its dulness and
vulgarity beside them; and 23, from Torcello, for a special reason, in
that place.

Sec. VII. The reader will observe that the two bases, 8 and 9, from the
two most important Lombardic churches of Italy, St. Ambrogio of Milan and
St. Michele of Pavia, mark the character of the barbaric base founded on
pure Roman models, sometimes approximating to such models very closely;
and the varieties 10, 11, 13, 16 are Byzantine types, also founded on
Roman models. But in the bases 1 to 7 inclusive, and, still more
characteristically, in 23 below, there is evidently an original element,
a tendency to use the fillet and hollow instead of the roll, which is
eminently Gothic; which in the base 3 reminds one even of Flamboyant
conditions, and is excessively remarkable as occurring in Italian work
certainly not later than the tenth century, taking even the date of the
last rebuilding of the Duomo of Torcello, though I am strongly inclined
to consider these bases portions of the original church. And I have
therefore put the base 23 among the Gothic group to which it has so