Drawn to show the fine curvatures and softness of treatment in Veronese sculpture of widely separated periods.
246. (15.) Unfinished Sketch of the Castelbarco Tomb, seen from one of the windows of the Hotel of the "Two Towers." (R.)
That inn was itself one of the palaces of the Scaligers; and the traveler should endeavor always to imagine the effect of the little Square of Sta. Anastasia when the range of its buildings was complete; the Castelbarco Tomb on one side, this Gothic palace on the other, and the great door of the church between. The masonry of the canopy of this tomb was so locked and dove-tailed that it stood balanced almost without cement; but of late, owing to the permission given to heavily loaded carts to pass continually under the archway, the stones were so loosened by the vibration that the old roof became unsafe, and was removed, and a fine smooth one of trimly cut white stone substituted, while I was painting the rest of the tomb, against time. Hence the unfinished condition of my sketch the last that can ever be taken of the tomb as it was built.
(16.) The Castelbarco Tomb, seen laterally. (B.)
A most careful drawing, leaving little to be desired in realization of the subject. It is taken so near the tomb as to make the perspective awkward, but I liked this quaint view better than more distant ones.
The drawing of the archway, and of the dark gray and red masonry of the tomb is very beautiful.
247. (17.) Lion with Hind in its Claws. (A.)
The support of the sarcophagus, under the feet of the recumbent figure in the Castelbarco Tomb.
(18.) Lion with Dragon in its claws. (A.)