2. Terraced House, entrance door.
3. Small Porticos of St. Mark's, external arches.
4. Arch on the canal at Ponte St. Toma.
5. Arch of Corte del Remer.
6. Great outermost archivolt of central door, St. Mark's.
PLATE VIII. 7. Inner archivolt of southern porch, St. Mark's Facade.
Vol. III. 8. Inner archivolt of central entrance, St. Mark's.
9. Fondaco de' Turchi, main arcade.
10. Byzantine restored house on Grand Canal, lower arcade.
11. Terraced House, upper arcade.
12. Inner archivolt of northern porch of facade, St. Mark's.
13 and 14. Transitional forms.

[Illustration: Plate IX.
GOTHIC ARCHIVOLTS.]

There is little to be noted respecting these forms, except that, in fig.
1, the two lower rolls, with the angular projections between, represent
the fall of the mouldings of two proximate arches on the abacus of the
bearing shaft; their two cornices meeting each other, and being
gradually narrowed into the little angular intermediate piece, their
sculptures being slurred into the contracted space, a curious proof of
the earliness of the work. The real archivolt moulding is the same as
fig. 4 _c c_, including only the midmost of the three rolls in fig. 1.

It will be noticed that 2, 5, 6, and 8 are sculptured on the soffits as
well as the faces; 9 is the common profile of arches decorated only with
colored marble, the facestone being colored, the soffit white. The
effect of such a moulding is seen in the small windows at the right hand
of Fig. XXVI. Vol. II.

The reader will now see that there is but little difficulty in
identifying Byzantine work, the archivolt mouldings being so similar
among themselves, and so unlike any others. We have next to examine the
Gothic forms.

Figs. 13 and 14 in Plate VIII. represent the first brick mouldings of
the transitional period, occurring in such instances as Fig. XXIII. or
Fig. XXXIII. Vol. II. (the soffit stone of the Byzantine mouldings being
taken away), and this profile, translated into solid stone, forms the
almost universal moulding of the windows of the second order. These two
brick mouldings are repeated, for the sake of comparison, at the top of
Plate IX. opposite; and the upper range of mouldings which they
commence, in that plate, are the brick mouldings of Venice in the early
Gothic period. All the forms below are in stone; and the