the Renaissance sculptors, the angels are introduced merely as a motive
for the curtains, which become every day more huge and elaborate. In the
monument of Mocenigo, they have already expanded into a tent, with a
pole in the centre of it: and in that of Foscari, for the first time,
the _angels are absent altogether_; while the curtains are arranged in
the form of an enormous French tent-bed, and are sustained at the flanks
by two diminutive figures in Roman armor; substituted for the angels,
merely that the sculptor might _show his knowledge_ of classical
costume. And now observe how often a fault in feeling induces also a
fault in style. In the old tombs, the angels used to stand on or by the
side of the sarcophagus; but their places are here to be occupied by the
Virtues, and therefore, to sustain the diminutive Roman figures at the
necessary height, each has a whole Corinthian pillar to himself, a
pillar whose shaft is eleven feet high, and some three or four feet
round: and because this was not high enough, it is put on a pedestal
four feet and a half high; and has a spurred base besides of its own, a
tall capital, then a huge bracket above the capital, and then another
pedestal above the bracket, and on the top of all the diminutive figure
who has charge of the curtains.

Sec. LXXIII. Under the canopy, thus arranged, is placed the sarcophagus
with its recumbent figure. The statues of the Virgin and the saints have
disappeared from it. In their stead, its panels are filled with
half-length figures of Faith, Hope, and Charity; while Temperance and
Fortitude are at the Doge's feet, Justice and Prudence at his head,
figures now the size of life, yet nevertheless recognizable only by
their attributes: for, except that Hope raises her eyes, there is no
difference in the character or expression of any of their faces,--they
are nothing more than handsome Venetian women, in rather full and
courtly dresses, and tolerably well thrown into postures for effect from
below. Fortitude could not of course be placed in a graceful one without
some sacrifice of her character, but that was of no consequence in the
eyes of the sculptors of this period, so she leans back languidly, and
nearly overthrows her own column; while Temperance, and Justice opposite
to her, as neither the left hand of the one nor the right hand of the
other could be seen from below, have been _left with one hand each_.

Sec. LXXIV. Still these figures, coarse a