ugh,
with her, tomb sculpture, after the fourteenth century, is altogether
imitative, and in no degree indicative of the temper of the people. It
was from Italy that the authority for the change was derived; and in
Italy only, therefore, that it is truly correspondent to the change in
the national mind. There are many monuments in Venice of this
semi-animate type, most of them carefully sculptured, and some very
admirable as portraits, and for the casting of the drapery, especially
those in the Church of San Salvador; but I shall only direct the reader
to one, that of Jacopo Pesaro, Bishop of Paphos, in the Church of the
Frari; notable not only as a very skilful piece of sculpture, but for
the epitaph, singularly characteristic of the period, and confirmatory
of all that I have alleged against it:

"James Pesaro, Bishop of Paphos, who conquered the Turks in war,
himself in peace, transported from a noble family among the Venetians
to a nobler among the angels, laid here, expects the noblest crown,
which the just Judge shall give to him in that day. He lived the
years of Plato. He died 24th March, 1547."[20]

The mingled classicism and carnal pride of this epitaph surely need no
comment. The crown is expected as a right from the justice of the judge,
and the nobility of the Venetian family is only a little lower than that
of the angels. The quaint childishness of the "Vixit annos Platonicos"
is also very notable.

Sec. LXXXI. The statue, however, did not long remain in this partially
recumbent attitude. Even the expression of peace became painful to the
frivolous and thoughtless Italians, and they required the portraiture to
be rendered in a manner that should induce no memory of death. The
statue rose up, and presented itself in front of the tomb, like an actor
upon a stage, surrounded now not merely, or not at all, by the Virtues,
but by allegorical figures of Fame and Victory, by genii and muses, by
personifications of humbled kingdoms and adoring nations, and by every
circumstance of pomp, and symbol of adulation, that flattery could
suggest, or insolence could claim.

Sec. LXXXII. As of the intermediate monumental type, so also of this, the
last and most gross, there are unfortunately many examples in our own
country; but the most wonderful, by far, are still at Venice. I shall,
however, particularize only two; the first, that of the Doge John
Pesaro, in the Frari. It is to be observed that we have