und in great richness and beauty at Verona,
down to the latest Gothic times, as well as in the earliest, being then
more frequent than any other form. It occurs, on a grand scale, in the
old palace of the Scaligers, and profusely throughout the streets of the
city. The series 4 _a_ to 4 _e_, Plate XIV., shows its most ordinary
conditions and changes of arch-line: 4 _a_ and 4 _b_ are the early
Venetian forms; 4 _c_, later, is general at Venice; 4 _d_, the best and
most piquant condition, owing to its fantastic and bold projection of
cusp, is common to Venice and Verona; 4 _e_ is early Veronese.

Sec. XXXV. The reader will see at once, in descending to the fifth row in
Plate XIV., representing the windows of the fifth order, that they are
nothing more than a combination of the third and fourth. By this union
they become the nearest approximation to a perfect Gothic form which
occurs characteristically at Venice; and we shall therefore pause on the
threshold of this final change, to glance back upon, and gather
together, those fragments of purer pointed architecture which were above
noticed as the forlorn hopes of the Gothic assault.

[Illustration: Fig. XXXIII.]

[Illustration: Fig. XXXIV.]

The little Campiello San Rocco is entered by a sotto-portico behind the
church of the Frari. Looking back, the upper traceries of the
magnificent apse are seen towering above the irregular roofs and
chimneys of the little square; and our lost Prout was enabled to bring
the whole subject into an exquisitely picturesque composition, by the
fortunate occurrence of four quaint trefoiled windows in one of the
houses on the right. Those trefoils are among the most ancient efforts
of Gothic art in Venice. I have given a rude sketch of them in Fig.
XXXIII. They are built entirely of brick, except the central shaft
and capital, which are of Istrian stone. Their structure is the simplest
possible; the trefoils being cut out of the radiating bricks which form
the pointed arch, and the edge or upper limit of that pointed arch
indicated by a roll moulding formed of cast bricks, in length of about a
foot, and ground at the bottom so as to meet in one, as in Fig. XXXIV.
The capital of the shaft is one of the earliest transitional forms;[89]
and observe the curious following out, even in this minor instance, of
the great law of centralization above explained with respect to the
Byzantine palaces. There is a central shaft, a pilaster on each side,