There is little to be noted respecting these forms, except that, in fig. 1, the two lower rolls, with the angular projections between, represent the fall of the mouldings of two proximate arches on the abacus of the bearing shaft; their two cornices meeting each other, and being gradually narrowed into the little angular intermediate piece, their sculptures being slurred into the contracted space, a curious proof of the earliness of the work. The real archivolt moulding is the same as fig. 4 _c c_, including only the midmost of the three rolls in fig. 1. It will be noticed that 2, 5, 6, and 8 are sculptured on the soffits as well as the faces; 9 is the common profile of arches decorated only with colored marble, the facestone being colored, the soffit white. The effect of such a moulding is seen in the small windows at the right hand of Fig. XXVI. Vol. II. The reader will now see that there is but little difficulty in identifying Byzantine work, the archivolt mouldings being so similar among themselves, and so unlike any others. We have next to examine the Gothic forms. Figs. 13 and 14 in Plate VIII. represent the first brick mouldings of the transitional period, occurring in such instances as Fig. XXIII. or Fig. XXXIII. Vol. II. (the soffit stone of the Byzantine mouldings being taken away), and this profile, translated into solid stone, forms the almost universal moulding of the windows of the second order. These two brick mouldings are repeated, for the sake of comparison, at the top of Plate IX. opposite; and the upper range of mouldings which they commence, in that plate, are the brick mouldings of Venice in the early Gothic period. All the forms below are in stone; and the moulding 2, translated into stone, forms the universal archivolt of the early pointed arches of Venice, and windows of second and third orders. The moulding 1 is much rarer, and used for the most part in doors only. The reader will see at once the resemblance of character in the various flat brick mouldings, 3 to 11. They belong to such arches as 1 and 2 in Plate XVII. Vol. II.; or 6 _b_, 6 _c_, in Plate XIV. Vol. II., 7 and 8 being actually the mouldings of those two doors; the whole group being perfectly defined, and separate from all the other Gothic work in Venice, and clearly the result of an effort to imitate, in brickwork, the effect of the flat sculptured archivolts of the Byzantine times. (See Vol. II. Chap. VII. § XXXVII.)