Among the early names known in Italy is that of Magister Orso, of Verona. Another, in the ninth century, was Magister Pacifico, and in the twelfth there came Guglielmus, who carved the charming naive wild hunting scenes on the portal of St. Zeno of Verona. These reliefs represent Theodoric on horseback, followed by an able company of men and horses which, according to legend, were supplied by the infernal powers. The eyes of these fugitives have much expression, being rendered with a drill, and standing out in the design as little black holes--fierce and effective. There is a fine round window at St. Zeno at Verona, designed and executed by one Briolottus, which, intended to represent the Wheel of Fortune, is decorated all over with little clinging figures, some falling and some climbing, and has the motto: "I elevate some mortals and depose others: I give good or evil to all: I clothe the naked and strip the clothed: in me if any one trust he will be turned to derision." Perhaps the most wonderful carvings on the church of St. Zeno at Verona are over the arched entrance to the crypt. These, being chiefly grotesque animal forms, are signed by Adaminus. Among the humourous little conceits is a couple of strutting cocks carrying between them a dead fox slung on a rod. Ruskin has characterized the carvings at Verona, especially those on the porch, as being among the best examples of the true function of flat decorative carving in stone. He says: "The primary condition is that the mass shall be beautifully rounded, and disposed with due discretion and order;... sculpture is essentially the production of a pleasant bossiness or roundness of surface. The pleasantness of that bossy condition to the eye is irrespective of imitation on one side, and of structure on the other." The more one considers this statement, the more he is convinced of its comprehensiveness. If the lights and shadows fall pleasantly, how little one stops to inquire, "What is the subject? Do I consider that horse well proportioned, or do I not? Is that woman in good drawing?" Effectiveness is almost independent of detail, except as that detail affects the law of proportion. There are varying degrees of relief: from flat (where the ornament is hardly more than incised, and the background planed away) to a practically solid round figure cut almost entirely free of its ground.