276 10. FINAL APPENDIX III. CAPITALS

Nothing can be more beautiful or original than the adaptation of these broad bearing abaci; but as they have nothing to do with the capital itself, and could not easily be brought into the space, they are omitted in Plate 2, where fig. 8 shows the bell of the capital only. Its profile is curiously subtle,-apparently concave everywhere, but in reality concave (all the way down) only on the angles, and slightly convex at the sides (the profile through the side being 2 k, Plate 10, Vol. II.); in this subtlety of curvature, as well as in the simple cross, showing the influence of early times.

The leaf on the angle, of which more presently, is fig. 5, Plate 20, Vol. II.

Connected with this school of transitional capitals we find a form in the later Gothic, such as fig. 14, from the Church of San Stefano; but which appears in part derived from an old and rich Byzantine type, of which fig. 11, from the Fondaco de’ Turchi, is a characteristic example.

I must now take the reader one step farther, and ask him to examine, finally, the treatment of the leaves, down to the cutting of their most minute lobes, in the series of capitals of which we have hitherto only sketched the general forms.

In all capitals with nodding leaves, such as 6 and 9 in Plate 2, the real form of the leaf is not to be seen, except in perspective; but, in order to render the comparison more easy, I have in Plate 20, Vol. II., opened all the leaves out, as if they were to be dried in a herbarium, only leaving the furrows and sinuosities of surface, but laying the outside contour nearly flat upon the page, except for a particular reason in figs. 2, 10, 11, and 15.

I shall first, as usual, give the references, and then note the points of interest.

1, 2, 3. Fondaco de’ Turchi, upper arcade.

4. Greek pillars brought from St. Jean d’Acre.

5. Piazzetta shafts.

6. Madonnetta House.

PLATE 20,7. Casa Falier.

Vol. II8. Palace near St. Eustachio.

9. Tombs, outside of St. John and Paul.

10. Tomb of Giovanni Soranzo.

11. Tomb of Andrea Dandolo.

12, 13, 14. Ducal Palace.

N. B.-The upper row, 1 to 4, is Byzantine, the next transitional, the last two Gothic.

Fig. 1. The leaf of the capital No. 6, Plate 8, Vol. II. Each lobe of the leaf has a sharp furrow up to its point, from its root.

Fig. 2. The leaf of the capital on the right hand, at the top of Plate 12 in this volume. The lobes worked in the same manner, with deep black drill holes between their points.

Fig. 3. One of the leaves of fig. 14, Plate 8, Vol. II., fully unfolded. The lobes worked in the same manner, but left shallow, so as not to destroy the breadth of light; the central line being drawn by drill holes, and the interstices between the lobes cut black and deep.

Fig. 4. Leaf with flower; pure Byzantine work, showing whence the treatment of all the other leaves has been derived.

Fig. 6. For the sake of symmetry, this is put in the centre: it is the

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