figure working with a pointed chisel on a small oblong block of green
serpentine, about four inches long by one wide, inlaid in the capital.
The chisel is, of course, in the left hand, but the right is held up
open, with the palm outwards.
_Second side_. A crowned figure, carving the image of a child on a
small statue, with a ground of red marble. The sculptured figure is
highly finished, and is in type of head much like the Ham or Japheth at
the Vine angle. Inscription effaced.
_Third side_. An old man, uncrowned, but with curling hair, at work
on a small column, with its capital complete, and a little shaft of dark
red marble, spotted with paler red. The capital is precisely of the form
of that found in the palace of the Tiepolos and the other thirteenth
century work of Venice. This one figure would be quite enough, without
any other evidence whatever, to determine the date of this flank of the
Ducal Palace as not later, at all events, than the first half of the
fourteenth century. Its inscription is broken away, all but "DISIPULO."
_Fourth side_. A crowned figure; but the object on which it has
been working is broken away, and all the inscription except "ST.
E(N?)AS."
_Fifth side_. A man with a turban, and a sharp chisel, at work on a
kind of panel or niche, the back of which is of red marble.
_Sixth side_. A crowned figure, with hammer and chisel, employed
_on a little range of windows of the fifth order_, having roses
set, instead of orbicular ornaments, between the spandrils with a rich
cornice, and a band of marble inserted above. This sculpture assures us
of the date of the fifth order window, which it shows to have been
universal in the early fourteenth century.
There are also five arches in the block on which the sculptor is
working, marking the frequency of the number five in the window groups
of the time.
_Seventh side_. A figure at work on a pilaster, with Lombardic thirteenth
century capital (for account of the series of forms in Venetian capitals,
see the final Appendix of the next volume), the shaft of dark red spotted
marble.
_Eighth side_. A figure with a rich open crown, working on a
delicate recumbent statue, the head of which is laid on a pillow covered
with a rich chequer pattern; the whole supported on a block of dark red
marble. Inscription broken away, all but "ST. SYM. (Symmachus?) TV * *
ANVS." There appear, therefore, altogether to have been five saints, two
of them popes, if Simplicius is the pope of that name (three in front,
two on the fourth and sixth sides), alternating with the three uncrowned
workmen in the manual labor of sculpture. I did not, therefore, insult
our present architects in saying above that they "ought to work in the
mason's yard with their men." It would be difficult to find a more
interesting expression of the devotional spirit in which all great work
was undertaken at this time.