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310 SECOND PERIOD.
" Celavit Marcus opus hoc insigne Romanis,
Laudlbus non parous est sua digna manus."
§ xxxix. The head of the Noah on the Ducal Palace, evidently worked in emulation of this statue, has the same profusion of flowing hair and beard, but wrought in smaller and
harder curls; and the veins on the arms and breast are more
sharply drawn, the sculptor being evidently more practised in
keen and fine lines of vegetation than in those of the figure;
so that, which is most remarkable in a workman of this early
period, he has failed in telling his story plainly, regret and
wonder being so equally marked on the features of all the
three brothers that it is impossible to say which is intended
for Ham. Two of the heads of the brothers are seen in the
Plate ; the third figure is not with the rest of the group, but
set at a distance of about twelve feet, on the other side of the
arch which springs from the angle capital.
§ xl. It may be observed, as a farther evidence of the date
of the group, that, in the figures of all the three youths, the
feet are protected simply by a bandage arranged in crossed
folds round the ankle and lower part of the limb; a feature
of dress which will be found in nearly every piece of figure
sculpture in Venice, from the year 1300 to 1380, and of which
the traveller may see an example within three hundred yards
of this very group, in the bas-reliefs on the tomb of the Doge
Andrea Dandolo (in St. Mark's), who died in 1354.
§ xli. The figures of Adam and Eve, sculptured on each
side of the Fig-tree angle, are more stiff than those of Noah
and his sons, but are better fitted for their architectural service ; and the trunk of the tree, with the angular body of the
serpent writhed around it, is more nobly treated as a terminal
group of lines than that of the vine.
The Renaissance sculptor of the figures of the Judgment
of Solomon has very nearly copied the fig-tree from this
angle, placing its trunk between the executioner and the
mother, who leans forward to stay his hand. But, though the
whole group is much more free in design than those of the
| Title | The stones of Venice - 2 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000356 |
| Type | Books/Pamphlets |
| Transcript | 310 SECOND PERIOD. " Celavit Marcus opus hoc insigne Romanis, Laudlbus non parous est sua digna manus." § xxxix. The head of the Noah on the Ducal Palace, evidently worked in emulation of this statue, has the same profusion of flowing hair and beard, but wrought in smaller and harder curls; and the veins on the arms and breast are more sharply drawn, the sculptor being evidently more practised in keen and fine lines of vegetation than in those of the figure; so that, which is most remarkable in a workman of this early period, he has failed in telling his story plainly, regret and wonder being so equally marked on the features of all the three brothers that it is impossible to say which is intended for Ham. Two of the heads of the brothers are seen in the Plate ; the third figure is not with the rest of the group, but set at a distance of about twelve feet, on the other side of the arch which springs from the angle capital. § xl. It may be observed, as a farther evidence of the date of the group, that, in the figures of all the three youths, the feet are protected simply by a bandage arranged in crossed folds round the ankle and lower part of the limb; a feature of dress which will be found in nearly every piece of figure sculpture in Venice, from the year 1300 to 1380, and of which the traveller may see an example within three hundred yards of this very group, in the bas-reliefs on the tomb of the Doge Andrea Dandolo (in St. Mark's), who died in 1354. § xli. The figures of Adam and Eve, sculptured on each side of the Fig-tree angle, are more stiff than those of Noah and his sons, but are better fitted for their architectural service ; and the trunk of the tree, with the angular body of the serpent writhed around it, is more nobly treated as a terminal group of lines than that of the vine. The Renaissance sculptor of the figures of the Judgment of Solomon has very nearly copied the fig-tree from this angle, placing its trunk between the executioner and the mother, who leans forward to stay his hand. But, though the whole group is much more free in design than those of the |
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