§ XI. Plate XX., in the second volume, though prepared for the special illustration of the notices of capitals, becomes peculiarly interesting when considered in relation to the points at present under consideration. The four leaves in the upper row are Byzantine; the two middle rows are transitional, all but fig. 11, which is of the formed Gothic; fig. 12 is perfect Gothic of the finest time (Ducal Palace, oldest part), fig. 13 is Gothic beginning to decline, fig. 14 is Renaissance Gothic in complete corruption. Now observe, first, the Gothic naturalism advancing gradually from the Byzantine severity; how from the sharp, hard, formalized conventionality of the upper series the leaves gradually expand into more free and flexible animation, until in fig. 12 we have the perfect living leaf as if fresh gathered out of the dew. And then, in the last two examples and partly in fig. 11, observe how the forms which can advance no longer in animation, advance, or rather decline, into luxury and effeminacy as the strength of the school expires. § XII. In the second place, note that the Byzantine and Gothic schools, however differing in degree of life, are both alike in _temperance_, though the temperance of the Gothic is the nobler, because it consists with entire animation. Observe how severe and subtle the curvatures are in all the leaves from fig. 1 to fig. 12, except only in fig. 11; and observe especially the firmness and strength obtained by the close approximation to the straight line in the lateral ribs of the leaf, fig. 12. The longer the eye rests on these temperate curvatures the more it will enjoy them, but it will assuredly in the end be wearied by the morbid exaggeration of the last example. [Illustration: Plate II. GOTHIC CAPITALS.]