enigo was succeeded by the renowned Doge, Francesco
Foscari, under whom, it will be remembered, the last additions were made
to the Gothic Ducal Palace; additions which, in form only, not in
spirit, corresponded to the older portions; since, during his reign, the
transition took place which permits us no longer to consider the
Venetian architecture as Gothic at all. He died in 1457, and his tomb is
the first important example of Renaissance art.

Not, however, a good characteristic example. It is remarkable chiefly as
introducing all the faults of the Renaissance at an early period, when
its merits, such as they are, were yet undeveloped. Its claim to be
rated as a classical composition is altogether destroyed by the remnants
of Gothic feeling which cling to it here and there in their last forms
of degradation; and of which, now that we find them thus corrupted, the
sooner we are rid the better. Thus the sarcophagus is supported by a
species of trefoil arches; the bases of the shafts have still their
spurs; and the whole tomb is covered by a pediment, with crockets and a
pinnacle. We shall find that the perfect Renaissance is at least pure in
its insipidity, and subtle in its vice; but this monument is remarkable
as showing the refuse of one style encumbering the embryo of another,
and all principles of life entangled either in the swaddling clothes or
the shroud.

Sec. LXXII. With respect to our present purpose, however, it is a monument
of enormous importance. We have to trace, be it remembered, the pride of
state in its gradual intrusion upon the sepulchre; and the consequent
and correlative vanishing of the expressions of religious feeling and
heavenly hope, together with the more and more arrogant setting forth of
the virtues of the dead. Now this tomb is the largest and most costly we
have yet seen; but its means of religious expression are limited to a
single statue of Christ, small and used merely as a pinnacle at the top.
The rest of the composition is as curious as it is vulgar. The conceit,
so often noticed as having been borrowed from the Pisan school, of
angels withdrawing the curtains of the couch to look down upon the dead,
was brought forward with increasing prominence by every succeeding
sculptor; but, as we draw nearer to the Renaissance period, we find that
the _angels_ become of less importance, and the _curtains_ of more. With
the Pisans, the curtains are introduced as a motive for the angels; with