The horror and the truth of this are beyond everything that I know, out of the pages of Inspiration. Note the heading of the arrows with flint, because sharper and more subtle in the edge than steel, and because steel might consume away with rust, but flint not; and consider in the whole description how the wasting away of body and soul together, and the coldness of the heart, which unholy fire has consumed into ashes, and the loss of all power, and the kindling of all terrible impatience, and the implanting of thorny and inextricable griefs, are set forth by the various images, the belt of brake, the tiger steed, and the light helmet, girding the head with death.
§ LXIII. Perhaps the most interesting series of the Virtues expressed in Italian art are those above mentioned of Simon Memmi in the Spanish chapel at Florence, of Ambrogio di Lorenzo in the Palazzo Publico of Pisa, of Orcagna in Or San Michele at Florence, of Giotto at Padua and Assisi, in mosaic on the central cupola of St. Mark’s, and in sculpture on the pillars of the Ducal Palace. The first two series are carefully described by Lord Lindsay; both are too complicated for comparison with the more simple series of the Ducal Palace; the other four of course agree in giving first the cardinal and evangelical virtues; their variations in the statement of the rest will be best understood by putting them in a parallel arrangement.
| St. Mark’s. | Orcagna. | Giotto. | Ducal Palace. |
| Constancy. | Perseverance. | Constancy. | |
| Modesty. | Modesty. | ||
| Chastity. | Virginity | Chastity. | Chastity. |
| Patience. | Patience. | Patience. | |
| Mercy. | |||
| Abstinence. | Abstinence? | ||
| Piety.[152] | Devotion. | ||
| Benignity. | |||
| Humility. | Humility. | Humility. | Humility. |
| Obedience. | Obedience. | Obedience. | |
| Docility. | |||
| Caution. | |||
| Poverty. | Honesty. | ||
| Liberality. | |||
| Alacrity. |
§ LXIV. It is curious, that in none of these lists do we find either Honesty or Industry ranked as a virtue, except in the Venetian one, where the latter is implied in Alacritas, and opposed not only by “Accidia” or sloth, but by a whole series of eight sculptures on another capital, illustrative, as I believe, of the temptations to idleness; while various other capitals, as we shall see presently, are devoted to the representation of the active trades. Industry, in Northern art and Northern morality, assumes a very principal place. I have seen in French manuscripts the virtues reduced to these seven, Charity, Chastity, Patience, Abstinence, Humility, Liberality, and Industry: and I doubt whether, if we were but to add Honesty (or Truth), a wiser or shorter list could be made out.
§ LXV. We will now take the pillars of the Ducal Palace in their order. It has already been mentioned (Vol. I. [Chap. I.] § XLVI.) that there are, in all, thirty-six great pillars supporting the lower story; and that these are to be counted from right to left, because then the more ancient of them come first: and that, thus arranged, the first, which is not a shaft, but a pilaster, will be the support of the Vine angle; the eighteenth will be the great shaft of the Fig-tree angle; and the thirty-sixth, that of the Judgment angle.
§ LXVI. All their capitals, except that of the first, are octagonal, and are decorated by sixteen leaves, differently enriched in every capital, but arranged in the same way; eight of them rising to the angles, and there forming volutes; the eight others set between them, on the sides, rising half-way up the bell of the capital; there nodding forward, and showing above them, rising out of their luxuriance, the groups or single figures which we have to examine.[153] In some instances, the intermediate or lower leaves are reduced to eight sprays of foliage; and the capital is left dependent for its effect on the bold position of the figures. In referring to the figures on the octagonal capitals, I shall call the outer side, fronting either the Sea or the Piazzetta, the first side; and so count round from left to right; the fourth side being thus, of course, the innermost. As, however, the first five arches were walled up after the great fire, only three sides of their capitals are left visible, which we may describe as the front and the eastern and western sides of each.
§ LXVII. First Capital: i.e. of the pilaster at the Vine angle.
In front, towards the Sea. A child holding a bird before him, with its wings expanded, covering his breast.
On its eastern side. Children’s heads among leaves.