1. Door in Calle Mocenigo. 2. Angle of tomb of Dogaressa Vital Michele. 3. Door in Sotto Portico, St. Apollonia (near Ponte di Canonica). 4. Door in Calle della Verona (another like it is close by). 5. Angle of tomb of Doge Marino Morosini. 6, 7. Door in Calle Mocenigo. 8. Door in Campo S. Margherita. Plate VI. 9. Door at Traghetto San Samuele, on south side of Grand Vol. III. Canal. 10. Door at Ponte St. Toma. 11. Great door of Church of Servi. 12. In Calle della Chiesa, Campo San Filippo e Giacomo. 13. Door of house in Calle di Rimedio (Vol. II.). 14. Door in Fondaco de' Turchi. 15. Door in Fondamenta Malcanton, near Campo S. Margherita. 16. Door in south side of Canna Reggio. 17, 18. Doors in Sotto Portico dei Squellini. The principal points to be noted in these mouldings are their curious differences of level, as marked by the dotted lines, more especially in 14, 15, 16, and the systematic projection of the outer or lower mouldings in 16, 17, 18. Then, as points of evidence, observe that 1 is the jamb and 6 the archivolt (7 the angle on a larger scale) of the brick door given in my folio work from Ramo di rimpetto Mocenigo, one of the evidences of the early date of that door; 8 is the jamb of the door in Campo Santa Margherita (also given in my folio work), fixing the early date of that also; 10 is from a Gothic door opening off the Ponte St. Toma; and 11 is also from a Gothic building. All the rest are from Byzantine work, or from ruins. The angle of the tomb of Marino Morosini (5) is given for comparison only. The doors with the mouldings 17, 18, are from the two ends of a small dark passage, called the Sotto Portico dei Squellini, opening near Ponte Cappello, on the Rio-Marin: 14 is the outside one, arranged as usual, and at _a_, in the rough stone, are places for the staples of the door valve; 15, at the other end of the passage, opening into the little Corte dei Squellini, is set with the part _a_ outwards, it also having places for hinges; but it is curious that the rich moulding should be set in towards the dark passage, though natural that the doors should both open one way. [Illustration: Plate VII. GOTHIC JAMBS.]