298 APPENDIX, 11

dispositions of the transitional leaf, in which the swells of the lobes are polygonal, flat on the upper surface-the sculptor not yet taking the pains to round them, or perhaps thinking the edgy contours more effective in the obscurity of the under parts of the moulding, for the rounding of the upper lobes, where they curl over, is quite perfect.

The panel moulding [another reference] is like that of the Soranzo tomb, but has the gabled instead of the plain dentil-the basic plinth is [illustration] somewhat too heavy: the best parts of the sarcophagus are the two small shafts on each side of the Madonna ... [further references to intended illustrations]. The reader will instantly appreciate the difference of style between the capitals and the severe capital of the Arnoldo tomb. The shields of this tomb are among the simplest of the Morosini bearings-the oblique bar behind the cross.

§ 8. Marco Giustiniani (A.D. 1347: SS. Giovanni e Paolo)

For the date of this tomb [that of Andrea Morosini] I trusted to Selvatico. One very nearly similar in design and workmanship has fortunately the date clearly inscribed. We must cross the church, to the chapel on the other side of the choir; corresponding to that which contains the Morosini tomb, and attached to its northern wall, we shall find a sarcophagus, supported by brackets, composed each of two monstrous heads. Monstrous is a gentle word to describe their intense deformity of the worst class, because without either terror or humour. They are interesting as examples of Italian effort at the grotesque, an effort which almost invariably fails except when made by the great painters. The mediæval sculptors, as compared with those of the north, are all devoid of invention, except of beauty; and the sculptor of this tomb has been incapable of conceiving the latter also. His failure is, however, greatest when he has worked on the largest scale and given his feeble fancy the hardest work; the heads are made monstrous merely by expanding noses and lips, putting on asses’ ears; filling the mouths with large conical teeth and other devices, such as might occur to any idle schoolboy, but arranged with less humour or power than most schoolboys would show in a listless scrawl on a fly-leaf.

The sarcophagus has five figures; two male saints at its angles where it touches the wall, a female saint and angel placed exactly as in the Morosini tomb at the outer angles, and a Madonna in the centre. The work of these figures is worse even than that of the Morosini; the faces utterly base and lifeless; but a glance at the disposition of the draperies at the angles will show the spectator the same idea filling the sculptor’s mind, of the angles at the Ducal Palace angles. And as he examines the sarcophagus farther, he will be struck by more remarkable correspondence in the floral ornamentations. He will find that all this latter is exceedingly fine; and when he compares it with that of the Morosini tomb, also, it will be remembered, excellent, he will perhaps be disposed to think both the work of men who had been employed in architectural and decorative carrying, and were just beginning to try their hand at figures; while, in portions of the ornamentation of this latter tomb, he will recognise arrangements with which he is already familiar on the

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