§ XXXIII. The lowermost figure in Plate XVII. represents an exquisitely finished example of the same type, from St. Zeno of Verona. Above, at 2, in Plate II., the plan of the shafts was given, but I inadvertently reversed their position: in comparing that plan with Plate XVII., Plate II. must be held upside down. The capitals, with the band connecting them, are all cut out of one block; their profile is an adaptation of 4 of Plate XV., with a plain headstone superimposed. This method of reduction is that of order _d_ in Fig. XXII., but the peculiarity of treatment of their truncation is highly interesting. Fig. LXV. represents the plans of the capitals at the base, the shaded parts being the bells: the open line, the roll with its connecting band. The bell of the one, it will be seen, is the exact reverse of that of the other: the angle truncations are, in both, curved horizontally as well as uprightly; but their curve is convex in the one, and in the other concave. Plate XVII. will show the effect of both, with the farther incisions, to the same depth, on the flank of the one with the concave truncation, which join with the rest of its singularly bold and keen execution in giving the impression of its rather having been cloven into its form by the sweeps of a sword, than by the dull travail of a chisel. Its workman was proud of it, as well he might be: he has written his name upon its front (I would that more of his fellows had been as kindly vain), and the goodly stone proclaims for ever, ADAMINUS DE SANCTO GIORGIO ME FECIT. § XXXIV. The reader will easily understand that the gracefulness of this kind of truncation, as he sees it in Plate XVII., soon suggested the idea of reducing it to a vegetable outline, and laying four healing leaves, as it were, upon the wounds which the sword had made. These four leaves, on the truncations of the capital, correspond to the four leaves which we saw, in like manner, extend themselves over the spurs of the base, and, as they increase in delicacy of execution, form one of the most lovely groups of capitals which the Gothic workmen ever invented; represented by two perfect types in the capitals of the Piazzetta columns of Venice. But this pure group is an isolated one; it remains in the first simplicity of its conception far into the thirteenth century, while around it rise up a crowd of other forms, imitative of the old Corinthian, and in which other and younger leaves spring up in luxuriant growth among the primal four. The varieties of their grouping we shall enumerate hereafter: one general characteristic of them all must be noted here.