Alinari Photo.]
ORCAGNA. FIENDS FROM "THE TRIUMPH OF DEATH" (FRESCO. CAMPO SANTO, PISA).
The creature (representing evil) is winged, and has birds' claws for its hind feet (like Orcagna's fiends), and lions' paws for its fore feet, the body of an ox or horse, the beak of an eagle or griffin, in some instances, in others it appears with a bull's head, and is certainly suggestive of power and terror.
The favourite Greek conception of the centaur, too, is an expressive symbolic embodiment of animal force, and the mythical sculptural combat in the metopes of the Parthenon is again suggestive of the conflict between the higher and the lower elements of human nature.
Returning again to Christian art, we find the image of the lamb, with the banner of the cross, was the badge of the Templar; and we find abundant symbolism in the various emblems and attributes of the apostles, saints, and martyrs, distinguished by the various emblems of their evangel, conversion, or martyrdom. The mystic symbols of the four evangelists are well known to every ecclesiastical designer—the angel of St. Matthew, the lion of St. Mark, the bull of St. Luke, the eagle of St. John.
The winged lion of St. Mark has become the distinguishing badge of the city of Venice, since the evangelist was supposed to be buried in the great church dedicated to his name. Its image in bronze upon the column in the Piazza impresses itself upon the eye and imagination of every visitor, while upon the companion columns we see the patron saint of the ancient republic—St. Isidore, with the crocodile. Placed there in 1329, the statue recalls the early days of Venice, and suggests its connection with the East.
COMBAT OF KING WITH GRIFFIN ANCIENT PERSIAN SCULPTURE PERSEPOLIS.
From Perrot & Chipiez Hist of Ancient Art in Persia after Flandrin & Coste.