Another bold variety is seen in the beautiful coupled shafts at the entrance to the crypt of San Zenone, Verona, where both the shafts are quatrefoil in section, but entirely different in character, one of them being quite straight, the other slightly, but yet conspicuously, spiral. In a monument in the south aisle of the same church, four shafts are cut out of one block of marble; and in order that this may be realized they are knotted together in the centre; and a similar example exists in the porch, of which I have given a view, at Trent, and in one of the windows of the Broletto at Como. The shafts round the lower basin of Nicola Pisano’s beautiful fountain at Perugia are in clusters of three, chevroned, spiral, and fluted in the greatest possible variety; and in later works, in which we find that the error of continuing arch mouldings to the ground, instead of stopping them on the capital, was occasionally committed--as, e.g., in the archway to the baptistery in the church of the Frari, at Venice--we see an instance of a moulded imitation of such a cluster of shafts as these of Nicola Pisano’s, chevroned and spiral, forming jamb and arch alike. In the later doorways, such as those of the western front of the cathedral of Como, and many of those at Monza, Pavia, and in most of the Venetian churches and buildings, the jambs and arches are identical in section; but even in these cases there is always a capital interposed, and I hardly remember an example of a continuous moulding without an impost, which at least marked--if often in an incomplete manner--the line of the springing of the arch. I must not forget that which is, after all, the most charming of all arrangements of shafts, viz. the use of them in couples, set generally one behind the other, so that, in elevation, extreme delicacy is secured, whilst, in perspective, there is beautiful light and shade, and ample effect of strength. This is a favourite arrangement in cloisters and in belfries; and, wherever it occurs, one regrets, as one looks at it, that though in old days French, Spanish, German, and even Irish[84] architects gladly followed the Italian example, it was so seldom that an Englishman condescended to do the same.[85]