the fifth order window, which it shows to have been universal in the
early fourteenth century.

There are also five arches in the block on which the sculptor is
working, marking the frequency of the number five in the window groups
of the time.

_Seventh side._ A figure at work on a pilaster, with Lombardic
thirteenth century capital (for account of the series of forms in
Venetian capitals, see the final Appendix of the next volume), the shaft
of dark red spotted marble.

_Eighth side._ A figure with a rich open crown, working on a delicate
recumbent statue, the head of which is laid on a pillow covered with a
rich chequer pattern; the whole supported on a block of dark red marble.
Inscription broken away, all but "ST. SYM. (Symmachus?) TV * * ANVS."
There appear, therefore, altogether to have been five saints, two of
them popes, if Simplicius is the pope of that name (three in front, two
on the fourth and sixth sides), alternating with the three uncrowned
workmen in the manual labor of sculpture. I did not, therefore, insult
our present architects in saying above that they "ought to work in the
mason's yard with their men." It would be difficult to find a more
interesting expression of the devotional spirit in which all great work
was undertaken at this time.

Sec. CXVIII. TWENTIETH CAPITAL. It is adorned with heads of animals, and
is the finest of the whole series in the broad massiveness of its effect;
so simply characteristic, indeed, of the grandeur of style in the
entire building, that I chose it for the first Plate in my folio work.
In spite of the sternness of its plan, however, it is wrought with great
care in surface detail; and the ornamental value of the minute chasing
obtained by the delicate plumage of the birds, and the clustered bees on
the honeycomb in the bear's mouth, opposed to the strong simplicity of
its general form, cannot be too much admired. There are also more grace,
life, and variety in the sprays of foliage on each side of it, and under
the heads, than in any other capital of the series, though the earliness
of the workmanship is marked by considerable hardness and coldness in
the larger heads. A Northern Gothic workman, better acquainted with
bears and wolves than it was possible to become in St. Mark's Place,
would have put far more life into these heads, but he could not have
composed them more skilfully.

Sec. CXIX. _First side._ A lion with a stag's haunch in his mouth. Those
rea