cient of them come first: and that, thus arranged, the first, which is
not a shaft, but a pilaster, will be the support of the Vine angle; the
eighteenth will be the great shaft of the Fig-tree angle; and the
thirty-sixth, that of the Judgment angle.

Sec. LXVI. All their capitals, except that of the first, are octagonal,
and are decorated by sixteen leaves, differently enriched in every
capital, but arranged in the same way; eight of them rising to the angles,
and there forming volutes; the eight others set between them, on the
sides, rising half-way up the bell of the capital; there nodding forward,
and showing above them, rising out of their luxuriance, the groups or
single figures which we have to examine.[153] In some instances, the
intermediate or lower leaves are reduced to eight sprays of foliage; and
the capital is left dependent for its effect on the bold position of the
figures. In referring to the figures on the octagonal capitals, I shall
call the outer side, fronting either the Sea or the Piazzetta, the first
side; and so count round from left to right; the fourth side being thus,
of course, the innermost. As, however, the first five arches were walled
up after the great fire, only three sides of their capitals are left
visible, which we may describe as the front and the eastern and western
sides of each.

Sec. LXVII. FIRST CAPITAL: i.e. of the pilaster at the Vine angle.

In front, towards the Sea. A child holding a bird before him, with its
wings expanded, covering his breast.

On its eastern side. Children's heads among leaves.

On its western side. A child carrying in one hand a comb; in the other,
a pair of scissors.

It appears curious, that this, the principal pilaster of the facade,
should have been decorated only by these graceful grotesques, for I can
hardly suppose them anything more. There may be meaning in them, but I
will not venture to conjecture any, except the very plain and practical
meaning conveyed by the last figure to all Venetian children, which it
would be well if they would act upon. For the rest, I have seen the comb
introduced in grotesque work as early as the thirteenth century, but
generally for the purpose of ridiculing too great care in dressing the
hair, which assuredly is not its purpose here. The children's heads are
very sweet and full of life, but the eyes sharp and small.

Sec. LXVIII. SECOND CAPITAL. Only three sides of the original work are
left unburied by the