and inlaid patterns
in variously colored brick, or with sculptures, consisting always of the
shield or crest of the family, protected by an angel. Of these more
perfect doorways I have given three examples carefully, in my folio
work; but I must repeat here one part of the account of their subjects
given in its text, for the convenience of those to whom the larger work
may not be accessible.

Sec. LVI. "In the earlier ages, all agree thus far, that the name of the
family is told, and together with it there is always an intimation that
they have placed their defence and their prosperity in God's hands;
frequently accompanied with some general expression of benediction to
the person passing over the threshold. This is the general theory of an
old Venetian doorway;--the theory of modern doorways remains to be
explained: it may be studied to advantage in our rows of new-built
houses, or rather of new-built house, changeless for miles together,
from which, to each inhabitant, we allot his proper quantity of windows,
and a Doric portico. The Venetian carried out his theory very simply. In
the centre of the archivolt we find almost invariably, in the older
work, the hand between the sun and moon in the attitude of blessing,
expressing the general power and presence of God, the source of light.
On the tympanum is the shield of the family. Venetian heraldry requires
no beasts for supporters, but usually prefers angels, neither the
supporters nor crests forming any necessary part of Venetian bearings.
Sometimes, however, human figures, or grotesques, are substituted; but,
in that case, an angel is almost always introduced above the shield,
bearing a globe in his left hand, and therefore clearly intended for the
'Angel of the Lord,' or, as it is expressed elsewhere, the 'Angel of His
Presence.' Where elaborate sculpture of this kind is inadmissible, the
shield is merely represented as suspended by a leather thong; and a
cross is introduced above the archivolt. The Renaissance architects
perceived the irrationality of all this, cut away both crosses and
angels, and substituted heads of satyrs, which were the proper presiding
deities of Venice in the Renaissance periods, and which in our own
domestic institutions, we have ever since, with much piety and sagacity,
retained."

Sec. LVII. The habit of employing some religious symbol, or writing some
religious legend, over the door of the house, does not entirely
disappear until far i