y engraved on the lintel and door-post. The spiral flutings
of the central shaft are uninterrupted, so as to form a slight recess
for the figure of St. Dominic, with, I believe, St. Peter Martyr and St.
Thomas Aquinas, one on each side with the symbols of the sun and moon.
At the end of the lintel, on the left, is St. Anastasia; on the right,
St. Catherine (of Siena); in the center, on the projecting capital, the
Madonna; and on the lintel, the story of Christ, in the four passages of
the Annunciation, Nativity, Crucifixion, and Resurrection.

220. This is the only part of the front of the church which is certainly
part of the first structure in 1260. The two statues of St. Anastasia
and St. Catherine are so roughly joined to the lateral capitals as to
induce a suspicion that even these latter and the beautiful polychrome
vault are of later work, not, however, later than 1300. The two pointed
arches which divide the tympanum are assuredly subsequent, and the
fresco which occupies it is a bad work of the end of the fourteenth
century; and the marble frieze and foundations of the front are at least
not earlier than 1426.

Of this portion of the building the foundation is noble, and its color
beautifully disposed, but the sculpture of the paneling is poor, and of
no interest or value.

221. On entering the church, and turning immediately to the left, there
will be seen on the inner side of the external wall a tomb under a
boldly trefoiled canopy. It is a sarcophagus with a recumbent figure on
it, which is the only work of art in the church deserving serious
attention. It is the tomb of Gerard Bolderius "sui temporis physicorum
principi," says his epitaph,[10] not, as far as I can discover, untruly.
On the front of the sarcophagus is the semi-figure of Christ rising from
the tomb, used generally at the period for the type of resurrection,
between the Virgin and St. John; and two shields, bearing, one the
fleur-de-lys, the other an eagle. The recumbent figure is entirely
simple and right in treatment, sculptured without ostentation of skill
or exaggeration of sentiment, by a true artist, who endeavors only to
give the dead due honor, and his own art subordinate and modest scope.

This monument, being the best in St. Anastasia, is, by the usual spite
of fortune, placed where it is quite invisible except on bright days. On
the opposite side of the church, the first monument on the right, well
lighted by the tall western win