It is impossible to overstate, or to regard with too much admiration, the significance of this single fact. It is as if the palace had been built at various epochs, and preserved uninjured to this day, for the sole purpose of teaching us the difference in the temper of the two schools.
SECTION XXXVI. I have called the sculpture on the Fig-tree angle the principal one; because it is at the central bend of the palace, where it turns to the Piazetta (the façade upon the Piazetta being, as we saw above, the more important one in ancient times). The great capital, which sustains this Fig-tree angle, is also by far more elaborate than the head of the pilaster under the Vine angle, marking the preëminence of the former in the architect's mind. It is impossible to say which was first executed, but that of the Fig-tree angle is somewhat rougher in execution, and more stiff in the design of the figures, so that I rather suppose it to have been the earliest completed.
SECTION XXXVII. In both the subjects, of the Fall and the Drunkenness, the tree, which forms the chiefly decorative portion of the sculpture,—fig in the one case, vine in the other,—was a necessary adjunct. Its trunk, in both sculptures, forms the true outer angle of the palace; boldly cut separate from the stonework behind, and branching out above the figures so as to enwrap each side of the angle, for several feet, with its deep foliage. Nothing can be more masterly or superb than the sweep of this foliage on the Fig-tree angle; the broad leaves lapping round the budding fruit, and sheltering from sight, beneath their shadows, birds of the most graceful form and delicate plumage. The branches are, however, so strong, and the masses of stone hewn into leafage so large, that, notwithstanding the depth of the undercutting, the work remains nearly uninjured; not so at the Vine angle, where the natural delicacy of the vine-leaf and tendril having tempted the sculptor to greater effort, he has passed the proper limits of his art, and cut the upper stems so delicately that half of them have been broken away by the casualties to which the situation of the sculpture necessarily exposes it. What remains is, however, so interesting in its extreme refinement, that I have chosen it for the subject of the first illustration [Footnote: See note at end of this chapter.] rather than the nobler masses of the fig-tree, which ought to be rendered on a larger scale. Although half of the beauty of the composition is destroyed by the breaking away of its central masses, there is still enough in the distribution of the variously bending leaves, and in the placing of the birds on the lighter branches, to prove to us the power of the designer. I have already referred to this Plate as a remarkable instance of the Gothic Naturalism; and, indeed, it is almost impossible for the copying of nature to be carried farther than in the fibres of the marble branches, and the careful finishing of the tendrils: note especially the peculiar expression of the knotty joints of the vine in the light branch which rises highest. Yet only half the finish of the work can be seen in the Plate: for, in several cases, the sculptor has shown the under sides of the leaves turned boldly to the light, and has literally carved every rib and vein upon them, in relief; not merely the main ribs which sustain the lobes of the leaf, and actually project in nature, but the irregular and sinuous veins which chequer the membranous tissues between them, and which the sculptor has represented conventionally as relieved like the others, in order to give the vine leaf its peculiar tessellated effect upon the eye.
SECTION XXXVIII. As must always be the case in early sculpture, the figures are much inferior to the leafage; yet so skilful in many respects, that it was a long time before I could persuade myself that they had indeed been wrought in the first half of the fourteenth century. Fortunately, the date is inscribed upon a monument in the Church of San Simeon Grande, bearing a recumbent statue of the saint, of far finer workmanship, in every respect, than those figures of the Ducal Palace, yet so like them, that I think there can be no question that the head of Noah was wrought by the sculptor of the palace in emulation of that of the statue of St. Simeon. In this latter sculpture, the face is represented in death; the mouth partly open, the lips thin and sharp, the teeth carefully sculptured beneath; the face full of quietness and majesty, though very ghastly; the hair and beard flowing in luxuriant wreaths, disposed with the most masterly freedom, yet severity, of design, far down upon the shoulders; the hands crossed upon the body, carefully studied, and the veins and sinews perfectly and easily expressed, yet without any attempt at extreme finish or display of technical skill. This monument bears date 1317, [Footnote: "IN XRI—NOIE AMEN ANNINCARNATIONIS MCCCXVII. INESETBR." "In the name of Christ, Amen, in the year of the incarnation, 1317, in the month of September," &c.] and its sculptor was justly proud of it; thus recording his name:
"CELAVIT MARCUS OPUS HOC INSIGNE ROMANIS,
LAUDIBUS NON PARCUS EST SUA DIGNA MANUS."
SECTION 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.
SECTION 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.
SECTION 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 earlier palace, and in many ways excellent in itself, so that it always strikes the eye of a careless observer more than the others, it is of immeasurably inferior spirit in the workmanship; the leaves of the tree, though far more studiously varied in flow than those of the fig-tree from which they are partially copied, have none of its truth to nature; they are ill set on the steins, bluntly defined on the edges, and their curves are not those of growing leaves, but of wrinkled drapery.
SECTION XLII. Above these three sculptures are set, in the upper arcade, the statues of the archangels Raphael, Michael, and Gabriel: their positions will be understood by reference to the lowest figure in Plate XVII., where that of Raphael above the Vine angle is seen on the right. A diminutive figure of Tobit follows at his feet, and he bears in his hand a scroll with this inscription: