§ XV. Now, in all these spurs, the reader will observe that the narrowest are for the most part the earliest. No. 2, from the upper colonnade of St. Mark's, is the only instance I ever saw of the double spur, as transitive between the square and octagon plinth; the truncated form, 1, is also rare and very ugly. Nos. 3, 4, 5, 7 and 9 are the general conditions of the Byzantine spur; 8 is a very rare form of plan in Byzantine work, but proved to be so by its rude level profile; while 7, on the contrary, Byzantine in plan, is eminently Gothic in the profile. 9 to 12 are from formed Gothic buildings, equally refined in their profile and plan. § XVI. The character of the profile is indeed much altered by the accidental nature of the surface decoration; but the importance of the broad difference between the raised and flat profile will be felt on glancing at the examples 1 to 6 in Plate XII. The three upper examples are the Romanesque types, which occur as parallels with the Byzantine types, 1 to 3 of Plate XI. Their plans would be nearly the same; but instead of resembling flat leaves, they are literally spurs, or claws, as high as they are broad; and the third, from St. Michele of Pavia, appears to be intended to have its resemblance to a claw enforced by the transverse fillet. 1 is from St. Ambrogio, Milan; 2 from Vienne, France. The 4th type, Plate XII., almost like the extremity of a man's foot, is a Byzantine form (perhaps worn on the edges), from the nave of St. Mark's; and the two next show the unity of the two principles, forming the perfect Italian Gothic types,--5, from tomb of Can Signorio della Scala, Verona; 6, from San Stefano, Venice (the base 11 of Plate XI., in perspective). The two other bases, 10 and 12 of Plate XI., are conditions of the same kind, showing the varieties of rise and fall in exquisite modulation; the 10th, a type more frequent at Verona than Venice, in which the spur profile overlaps the roll, instead of rising out of it, and seems to hold it down, as if it were a ring held by sockets. This is a character found both in early and late work; a kind of band, or fillet, appears to hold, and even compress, the _centre_ of the roll in the base of one of the crypt shafts of St. Peter's, Oxford, which has also spurs at its angles; and long bands flow over the base of the angle shaft of the Ducal Palace of Venice, next the Porta della Carta.