etc., are the parts of the profile cut into flowers or cable
mouldings; and so much incised as to show the constant outline of the
cavetto or curve beneath them. The following are the references:

1. Door in house of Marco Polo.
2. Old door in a restored church of St. Cassan.
3, 4, 5. Common jambs of Gothic doors.
6. Frari windows.
7, 8. Ducal Palace windows.
9. Casa Priuli, great entrance.
10. San Stefano, great door.
PLATE VII. 11. San Gregorio, door opening to the water.
Vol. III. 12. Lateral door, Frari.
13. Door of Campo San Zaccaria.
14. Madonna dell'Orto.
15. San Gregorio, door in the facade.
16. Great lateral door, Frari.
17. Pilaster at Vine angle, Ducal Palace.
18. Pier, inner cortile, Ducal Palace.
19. Pier, under the medallion of Venice, on the Piazetta
facade of the Ducal Palace.

_III. Capitals._

I shall here notice the various facts I have omitted in the text of the
work.

First, with respect to the Byzantine Capitals represented in Plate VII.
Vol. II., I omitted to notice that figs. 6 and 7 represent two sides of
the same capital at Murano (though one is necessarily drawn on a smaller
scale than the other). Fig. 7 is the side turned to the light, and fig.
6 to the shade, the inner part, which is quite concealed, not being
touched at all.

We have here a conclusive proof that these capitals were cut for their
place in the apse; therefore I have always considered them as tests of
Venetian workmanship, and, on the strength of that proof, have
occasionally spoken of capitals as of true Venetian work, which M.
Lazari supposes to be of the Lower Empire. No. 11, from St. Mark's, was
not above noticed. The way in which the cross is gradually left in
deeper relief as the sides slope inwards and away from it, is highly
picturesque and curious.

No. 9 has been reduced from a larger drawing, and some of the life and
character of the curves lost in consequence. It is chiefly given to show
the irregular and fearless freedom of the Byzantine designers, no two
parts of the foliage being correspondent; in the original it is of white
marble, the ground being colored blue.

Plate X. Vol. II. represents the four principal orders of Venetian
capitals in their greatest simplicity, and the profiles of the most
intere