104 THE STONES OF VENICE II. PRIDE OF STATE

dead, was brought forward with increasing prominence by every succeeding sculptor;¹ but, as we draw nearer to the Renaissance period, we find that the angels become of less importance, and the curtains of more. With the Pisans, the curtains are introduced as a motive for the angels; with the Renaissance sculptors, the angels are introduced merely as a motive for the curtains, which become every day more huge and elaborate. In the monument of Mocenigo, they have already expanded into a tent, with a pole in the centre of it; and in that of Foscari, for the first time, the angels are absent altogether; while the curtains are arranged in the form of an enormous French tent-bed, and are sustained at the flanks by two diminutive figures in Roman armour; substituted for the angels, merely that the sculptor might show his knowledge of classical costume. And now observe how often a fault in feeling induces also a fault in style. In the old tombs, the angels used to stand on or by the side of the sarcophagus; but their places are here to be occupied by the Virtues; and therefore, to sustain the diminutive Roman figures at the necessary height, each has a whole Corinthian pillar to himself, a pillar whose shaft is eleven feet high, and some three or four feet round: and because this was not high enough, it is put on a pedestal four feet and a half high; and has a spurred base besides of its own, a tall capital, then a huge bracket above the capital, and then another pedestal above the bracket, and on the top of all the diminutive figure who has charge of the curtains.

§ 73. Under the canopy, thus arranged, is placed the sarcophagus with its recumbent figure. The statues of the Virgin and the saints have disappeared from it. In their stead, its panels are filled with half length figures of Faith, Hope, and Charity; while Temperance and Fortitude are at the Doge’s feet. Justice and Prudence at his head, figures now the size of life, yet nevertheless recognizable only by their attributes; for, except that Hope raises her eyes, there is

¹ [Among the loose sheets of MS. there is a notice of another tomb with remarks on the development of the curtain motive: see below, Appendix 11, § 11, p. 302.]

[Version 0.04: March 2008]