84 THE STONES OF VENICE II. PRIDE OF STATE

type of a Christian tomb was not developed until towards the thirteenth century, sooner or later according to the civilization of each country; that perfect type consisting in the raised and perfectly visible sarcophagus of stone, bearing upon it a recumbent figure, and the whole covered by a canopy. Before that type was entirely developed, and in the more ordinary tombs contemporary with it, we find the simple sarcophagus, often with only a rough block of stone for its lid, sometimes with a low-gabled lid like a cottage roof, derived from Egyptian forms, and bearing, either on the sides or the lid, at least a sculpture of the cross, and sometimes the name of the deceased, and date of erection of the tomb. In more elaborate examples rude¹ figure-sculpture is gradually introduced; and in the perfect period the sarcophagus, even when it does not bear any recumbent figure, has generally a rich sculpture on its sides representing an angel presenting the dead, in person and dress as he lived, to Christ or to the Madonna, with lateral figures, sometimes of saints, sometimes-as in the tombs of the Dukes of Burgundy at Dijon-of mourners; but in Venice almost always representing the Annunciation, the angel being placed at one angle of the sarcophagus and the Madonna at the other. The canopy, in a very simple four-square form, or as an arch over a recess, is added above the sarcophagus, long before the life-size recumbent figure appears resting upon it. By the time that the sculptors had acquired skill enough to give much expression to this figure, the canopy attains an exquisite symmetry and richness; and, in the most elaborate examples, is surmounted by a statue, generally small, representing the dead person in the full strength and pride of life, while the recumbent figure shows him as he lay in death. And, at this point, the perfect type of the Gothic tomb is reached.²

¹ [Ruskin wrote “rude” and there can be little doubt that the word was intended: see § 53 below. All previous editions, however, read “rich.”]

² [In the first draft of this chapter Ruskin here continued his general sketch of the rise and fall of the art of sepulchral sculpture, without diverging to give examples of “the perfect type”: see below, Appendix 11, § 2, pp. 289-290.]

[Version 0.04: March 2008]