_Sixth side_. A crowned figure, with hammer and chisel, employed _on a little range of windows of the fifth order_, having roses set, instead of orbicular ornaments, between the spandrils with a rich cornice, and a band of marble inserted above. This sculpture assures us of the date of 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. SECTION XCVII. 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.