ings are their curious
differences of level, as marked by the dotted lines, more especially in
14, 15, 16, and the systematic projection of the outer or lower
mouldings in 16, 17, 18. Then, as points of evidence, observe that 1 is
the jamb and 6 the archivolt (7 the angle on a larger scale) of the
brick door given in my folio work from Ramo di rimpetto Mocenigo, one of
the evidences of the early date of that door; 8 is the jamb of the door
in Campo Santa Margherita (also given in my folio work), fixing the
early date of that also; 10 is from a Gothic door opening off the Ponte
St. Toma; and 11 is also from a Gothic building. All the rest are from
Byzantine work, or from ruins. The angle of the tomb of Marino Morosini
(5) is given for comparison only.

The doors with the mouldings 17, 18, are from the two ends of a small
dark passage, called the Sotto Portico dei Squellini, opening near Ponte
Cappello, on the Rio-Marin: 14 is the outside one, arranged as usual,
and at _a_, in the rough stone, are places for the staples of the door
valve; 15, at the other end of the passage, opening into the little
Corte dei Squellini, is set with the part _a_ outwards, it also having
places for hinges; but it is curious that the rich moulding should be
set in towards the dark passage, though natural that the doors should
both open one way.

[Illustration: Plate VII.
GOTHIC JAMBS.]

The next Plate, VII., will show the principal characters of the Gothic
jambs, and the total difference between them and the Byzantine ones. Two
more Byzantine forms, 1 and 2, are given here for the sake of
comparison; then 3, 4, and 5 are the common profiles of simple jambs of
doors in the Gothic period; 6 is one of the jambs of the Frari windows,
continuous into the archivolt, and meeting the traceries, where the line
is set upon it at the extremity of its main slope; 7 and 8 are jambs of
the Ducal Palace windows, in which the great semicircle is the half
shaft which sustains the traceries, and the rest of the profile is
continuous in the archivolt; 17, 18, and 19 are the principal piers of
the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in
order to show the step of transition from the Byzantine form 2 to the
Gothic chamfer, which is hardly represented at Venice. The other
profiles on the plate are all late Gothic, given to show the gradual
increase of complexity without any gain of power. The open lines in 12,
14, 16,