iis, virtutibus, arte
Edidit, illustres genitor natusque, sepulti
Hac sub rupe Duces. Venetum charissima proles
Theupula collatis dedit hos celebranda triumphis.
Omnia presentis donavit predia templi
Dux Jacobus: valido fixit moderamine leges
Urbis, et ingratam redimens certamine Jadram
Dalmatiosque dedit patrie, post, Marte subactas
Graiorum pelago maculavit sanguine classes.
Suscipit oblatos princeps Laurentius Istros,
Et domuit rigidos, ingenti strage cadentes,
Bononie populos. Hinc subdita Cervia cessit.
Fundavere vias pacis; fortique relicta
Re, superos sacris petierunt mentibus ambo.

"Dominus Jachobus hobiit[121] M.CCLI.
Dominus Laurentius hobiit M.CCLXXVIII."

You see, therefore, this tomb is an invaluable example of thirteenth
century sculpture in Venice. In Plate VI., you have an example of the
(coin) sculpture of the date accurately corresponding in Greece to the
thirteenth century in Venice, when the meaning of symbols was everything
and the workmanship comparatively nothing. The upper head is an Athena,
of Athenian work in the seventh or sixth century--(the coin itself may
have been struck later, but the archaic type was retained). The two
smaller impressions below are the front and obverse of a coin of the
same age from Corinth, the head of Athena on one side, and Pegasus, with
the archaic Koppa, on the other. The smaller head is bare, the hair
being looped up at the back and closely bound with an olive branch. You
are to note this general outline of the head, already given in a more
finished type in Plate II., as a most important elementary form in the
finest sculpture, not of Greece only, but of all Christendom. In the
upper head the hair is restrained still more closely by a round helmet,
for the most part smooth, but embossed with a single flower tendril,
having one bud, one flower, and above it, two olive leaves. You have
thus the most absolutely restricted symbol possible to human thought of
the power of Athena over the flowers and trees of the earth. An olive
leaf by itself could not have stood for the sign of a tree, but the two
can, when set in position of growth.

[Illustration: PLATE VI.--ARCHAIC ATHENA OF ATHENS AND CORINTH.]

I would not give you the reverse of the coin on the same plate, because
you would have looked at it only, laughed at it, and not examined the
rest; but here it is, wonderfully engraved for you (Fig. 6): o