§ CXIV. Seventh side. The Moon, in her house Cancer. This sculpture, which is turned towards the Piazzetta, is the most picturesque of the series. The moon is represented as a woman in a boat, upon the sea, who raises the crescent in her right hand, and with her left draws a crab out of the waves, up the boat’s side. The moon was, I believe, represented in Egyptian sculptures as in a boat; but I rather think the Venetian was not aware of this, and that he meant to express the peculiar sweetness of the moonlight at Venice, as seen across the lagoons. Whether this was intended by putting the planet in the boat, may be questionable, but assuredly the idea was meant to be conveyed by the dress of the figure. For all the draperies of the other figures on this capital, as well as on the rest of the façade, are disposed in severe but full folds, showing little of the forms beneath them; but the moon’s drapery ripples down to her feet, so as exactly to suggest the trembling of the moonlight on the waves. This beautiful idea is highly characteristic of the thoughtfulness of the early sculptors: five hundred men may be now found who could have cut the drapery, as such, far better, for one who would have disposed its folds with this intention. The inscription is:
“LUNE CANCER DOMU T. PBET IORBE SIGNORU.”
§ CXV. Eighth side. God creating Man. Represented as a throned figure, with a glory round the head, laying his left hand on the head of a naked youth, and sustaining him with his right hand. The inscription puzzled me for a long time; but except the lost r and m of “formavit,” and a letter quite undefaced, but to me unintelligible, before the word Eva, in the shape of a figure of 7, I have safely ascertained the rest.
“DELIMO DSADA DECO STAFO * * AVIT7EVA.”
Or
| “De limo Dominus Adam, de costa fo(rm) avit Evam;” From the dust the Lord made Adam, and from the rib Eve. |
I imagine the whole of this capital, therefore—the principal one of the old palace,—to have been intended to signify, first, the formation of the planets for the service of man upon the earth; secondly, the entire subjection of the fates and fortune of man to the will of God, as determined from the time when the earth and stars were made, and, in fact, written in the volume of the stars themselves.
Thus interpreted, the doctrines of judicial astrology were not only consistent with, but an aid to, the most spiritual and humble Christianity.
In the workmanship and grouping of its foliage, this capital is, on the whole, the finest I know in Europe. The sculptor has put his whole strength into it. I trust that it will appear among the other Venetian casts lately taken for the Crystal Palace; but if not, I have myself cast all its figures, and two of its leaves, and I intend to give drawings of them on a large scale in my folio work.
§ CXVI. Nineteenth Capital. This is, of course, the second counting from the Sea, on the Piazzetta side of the palace, calling that of the Fig-tree angle the first.