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noticed, is terminated at the apex of the arch by a lion’s head, out of the mouth of which the branches spring, and the whole is crowned by the shield, helmet, and dog crest of the knight.

It was before mentioned that some of the charm of this tomb was owing to the sadness of its faded colours. The shields have all had their bearings painted; exclusively painted, in every case, except that of the large one in the shadow at the knight’s feet, where the bearings are also traced lightly with the chisel; the background of the arch has been deep blue, covered with stars; the soffit of the archivolt has had a rich-coloured chain of medallions. All this is now feebly traceable, and we may perhaps regret its loss; but when we examine the St. Joseph and the Infant Christ, and find that the eyes have been painted with large round irises, and the flowing drapery barred across with energetic black and white patterns, we may perhaps feel our confidence in the old artist’s judgment somewhat shaken. The question of right is not to our present purpose, but the fact is important, that there never was a monument of a good school left without colour. Secondly, as an example of the early love of the Venetians for energetic colour effect, enforcing the law given in Chap. [iv.]¹ of the Seven Lamps that colour, when used, was not to follow the sculptural lines. The draperies of the St. Joseph and the Infant Son are flowing; the coloured patterns are, in the one case, sharp black diamonds on a white ground; in the other, black and white stripes crossing the folds; and the vigour with which these cross patterns have been used is as great as in any of the most piquant effects of colour of Veronese or Tintoret.

§ 5. Giovanni Soranzo (A.D. 1329: St. Mark’s)

In the recess under the mosaic of the baptism of Christ, in the Baptistery of St. Mark’s, is another plain sarcophagus, containing the ashes of a doge, Giovanni Soranzo.² The brief notice of him by Sansovino is worth translating: “A tall man, thin in the face, prudent, and exceeding crafty; and although by the showing of his external appearance he might have been thought of an indiscreet and irregular* character, yet was he, nevertheless, gentle and courteous, and much esteemed by the city. In those times there was so great plenty in the city, that with a ducat a household might be provisioned for a week.” In spite of this abundance no wealth was lavished on the tomb of the doge. It has no effigy, and only three small figures on its sides-one in the centre of John the Baptist, holding the Lamb, within a circle; on each angle a bishop holding a book-all very stiff and cheaply cut, but the expression of the faces good and grave. The panel moulding [reference to intended illustration] has the simple dentil, not the gabled, but the roll at its inner angle is in a more advanced form than that of the Arnoldo or Duccio tombs; the basic plinth also [another reference]

* “Incomposta,” an excellent word, not translateable.

¹ [See Vol. VIII. p. 177.]

² [Reigned 1312-1329. For the commercial prosperity of the Republic under this doge, see H. F. Brown’s Venice, p. 187.]

[Version 0.04: March 2008]