252 ST. MARK’S REST

I have shown you, to-day, pieces of her art-work by which you may easily remember its cardinal divisions.

You saw first the work of her Greek masters, under whom she learned both her faith and art.

Secondly, the beginning of her own childish efforts, in the St. George enthroned.

Thirdly, the culmination of her skill in the St. George combatant.

Fourthly, the languor of her faith and art power, under the advance of her luxury, in the hypocrisy of St. Theodore’s Scuola, now a furniture warehouse.

Lastly, her dotage before shameful death.

In the next chapter I will mark, by their natural limits, the epochs of her political history, which correspond to these conditions of her knowledge, hope, and imagination.

57. But as you return home, and again pass before the porches of St. Mark’s, I may as well say at once what I can of these six bas-reliefs between them.

On the sides of the great central arch are St. George and St. Demetrius, so inscribed in Latin. Between the next lateral porches, the Virgin and Archangel Gabriel, so inscribed,-the Archangel in Latin, the “Mother of God”¹ in Greek.

And between these and the outer porches, uninscribed, two of the labours of Hercules. I am much doubtful concerning these, myself,-do not know their manner of sculpture, nor understand their meaning. They are fine work; the Venetian antiquaries say, very early (sixth century); types, it may be, of physical human power prevailing over wild nature; the war of the world before Christ.

Then the Madonna and angel of Annunciation express the Advent.

Then the two Christian Warrior Saints express the heart of Venice in her armies.

¹ [M-P őY and r are united, the theta and upsilon are not. Hence, the monogram should perhaps be translated “Mother of the Divine Son” (mhthr qeou giou) not “Mother of God” (mhthr qeou).]

[Version 0.04: March 2008]