II. PRIDE OF STATE II. ROMAN RENAISSANCE 81

piteousness with its wrath and indignation, “Our soul is filled with the scornful reproof of the wealthy, and with the despitefulness of the proud.”¹

§ 46. But of all the evidence bearing upon this subject presented by the various art of the fifteenth century, none is so interesting or so conclusive as that deduced from its tombs.² For, exactly in proportion as the pride of life became more insolent, the fear of death became more servile; and the difference in the manner in which the men of

¹ [See above, p. 43 n. Here ch. ii. in vol. ii. of the “Travellers’ Edition” ends. §§ 46-85 form Chapter iii., headed “The Street of the Tombs,” and with the following note appended:-

“A distinct piece, and the most important piece of the old chapter on Roman Renaissance, with the main subject of which it had nothing to do. The substance of this present chapter will be gradually illustrated by the publications of the Arundel Society on the Tombs of Italy.”

The Society began this work in 1867 by commissioning Professor Gnauth of Stuttgart to make drawings of various Italian tombs. These were published in 1872-1876, viz. (1 and 2) the Monuments of the Doge Morosini and the Doge Andrea Vendramin in SS. Giovanni e Paolo (these are described below, §§ 65, 77); (3) Can Grande (§ 53); (4) the Castelbarco Tomb (Vol. IX. p. 176); (5) monument in the church of S. Fermo Maggiore, Verona; (6 and 7) the Monuments of the Pellegrini and Cavalli families, Sta. Anastasia, Verona (for the latter Ruskin wrote a monograph, reprinted in a later volume of this edition). Subsequently the Society issued records of Twenty-six Monuments of the Mediæval and Renaissance periods illustrated by forty-nine photographs, forming a work entitled Sepulchral Monuments in Italy, with descriptive notices by S. Thompson.]

² [Ruskin had originally intended to treat this part of his subject differently and more fully. see above, Introduction, p. xv., and for the MS. draft of the introductory remarks upon the tombs of Venice, below, Appendix 11, § 1, p. 289. The following conspectus of the contents of these sections, “The Street of the Tombs,” may be convenient:-(1) The early Christian type of Sarcophagus, § 48-examples: tombs of the Doges Jacopo and Lorenzo Tiepolo, 1251-1288 (outside SS. Giovanni e Paolo, better known in Venice as San Zanipolo, §§ 49-51; tomb of Doge Marino Morosini, 1232 (St Mark’s porch), § 83.

(2) The perfect Gothic type with recumbent figure, § 52-examples: monument of St. Simeon, 1327 (S. Simeone Grande), § 52; tomb of a nameless knight, late thirteenth century (Frari), § 57; Duccio degli Alberti, first tomb in Venice with virtues, (Frari), §§ 58, 66; Doge Francesco Dandolo, died 1339 (S. Maria della Salute), §§ 58-60; Doge Andrea Dandolo, first tomb with canopy and curtains, 1354 (St. Mark’s), § 61; Doge Giovanni Dolfino, 1360 (Zanipolo), §§ 62, 63; Simon Dandolo, 1360 (Frari), § 64; Doge Marco Cornaro, 1367 (Zanipolo), § 65; Doge Michele Morosini, transitional in style, 1382 (Zanipolo), §§ 65-68; Jacopo Cavalli, 1384 (Zanipolo), § 69; Doge Michele Steno, 1414 (Zanipolo), § 70; Doge Tomaso Mocenigo, 1423 (Zanipolo), § 70-the last of the Gothic period.

(3) Renaissance types and examples:-Doge Francesco Foscari, 1457 (Frari), §§ 71-75; Doge Andrea Vendramin, 1480 (Zanipolo), § 77; Doges Pietro and Giovanni Mocenigo, 1476, 1485 (Zanipolo), §§ 78, 79; Pietro Bernardino, 1568 (Frari), § 78; Bishop James Pesaro, 1547 (Frari), § 80; Doge John Pesaro, 1569 (Frari), § 82; Doge Bertuccio Valier, 1658, Doge Silvester Falier and his wife, 1708 (Zanipolo), § 84.

The tombs of the Scaligers at Verona are described as an interlude-Can Grande, 1335, § 53; Mastino II., died 1351, § 55; Can Signorio della Scala, died 1375, § 56.]

XI. F

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