7 e. At the turn of the canal on which the Sotto Portico della Stua opens, near San Zaccaria.

If the reader will take a magnifying glass to the figure 6 d, he will see that its square ornaments, of which, in the real door, each contains a rose, diminish to the apex of the arch; a very interesting and characteristic circumstance, showing the subtle feeling of the Gothic builders. They must needs diminish the ornamentation, in order to sympathize with the delicacy of the point of the arch. The magnifying glass will also show the Bondumieri shield in No. 7 d, and the Leze shield in No. 7 e, both introduced on the keystones in the grand early manner. The mouldings of these various doors will be noticed under the head Archivolt.

VI.
BYZANTINE JAMBS.

Now, throughout the city we find a number of doors resembling the square doors of St. Mark, and occurring with rare exceptions either in buildings of the Byzantine period, or imbedded in restored houses; never, in a single instance, forming a connected portion of any late building; and they therefore furnish a most important piece of evidence, wherever they are part of the original structure of a Gothic building, that such building is one of the advanced guards of the Gothic school, and belongs to its earliest period.

On [Plate VI.], opposite, are assembled all the important examples I could find in Venice of these mouldings. The reader will see at a glance their peculiar character, and unmistakable likeness to each other. The following are the references:

[Plate VI.] Vol. III. 1. Door in Calle Mocenigo. 2. Angle of tomb of Dogaressa Vital Michele. 3. Door in Sotto Portico, St. Apollonia (near Ponte di Canonica). 4. Door in Calle della Verona (another like it is close by). 5. Angle of tomb of Doge Marino Morosini. 6, 7. Door in Calle Mocenigo. 8. Door in Campo S. Margherita. 9. Door at Traghetto San Samuele, on south side of Grand Canal. 10. Door at Ponte St. Toma. 11. Great door of Church of Servi. 12. In Calle della Chiesa, Campo San Filippo e Giacomo. 13. Door of house in Calle di Rimedio (Vol. II.). 14. Door in Fondaco de’ Turchi. 15. Door in Fondamenta Malcanton, near Campo S. Margherita. 16. Door in south side of Canna Reggio. 17, 18. Doors in Sotto Portico dei Squellini.

The principal points to be noted in these mouldings are their curious differences of level, as marked by the dotted lines, more especially in 14, 15, 16, and the systematic projection of the outer or lower mouldings in 16, 17, 18. Then, as points of evidence, observe that 1 is the jamb and 6 the archivolt (7 the angle on a larger scale) of the brick door given in my folio work from Ramo di rimpetto Mocenigo, one of the evidences of the early date of that door; 8 is the jamb of the door in Campo Santa Margherita (also given in my folio work), fixing the early date of that also; 10 is from a Gothic door opening off the Ponte St. Toma; and 11 is also from a Gothic building. All the rest are from Byzantine work, or from ruins. The angle of the tomb of Marino Morosini (5) is given for comparison only.

The doors with the mouldings 17, 18, are from the two ends of a small dark passage, called the Sotto Portico dei Squellini, opening near Ponte Cappello, on the Rio-Marin: 14 is the outside one, arranged as usual, and at a, in the rough stone, are places for the staples of the door valve; 15, at the other end of the passage, opening into the little Corte dei Squellini, is set with the part a outwards, it also having places for hinges; but it is curious that the rich moulding should be set in towards the dark passage, though natural that the doors should both open one way.

VII.
GOTHIC JAMBS.