n his mail,
only the hands and face being bare. The hauberk and helmet are of
chain-mail, the armor for the limbs of jointed steel; a tunic, fitting
close to the breast, and marking the noble swell of it by two narrow
embroidered lines, is worn over the mail; his dagger is at his right
side; his long cross-belted sword, not seen by the spectator from below,
at his left. His feet rest on a hound (the hound being his crest), which
looks up towards its master. In general, in tombs of this kind, the face
of the statue is slightly turned towards the spectator; in this
monument, on the contrary, it is turned away from him, towards the depth
of the arch: for there, just above the warrior's breast, is carved a
small image of St. Joseph bearing the infant Christ, who looks down upon
the resting figure; and to this image its countenance is turned. The
appearance of the entire tomb is as if the warrior had seen the vision
of Christ in his dying moments, and had fallen back peacefully upon his
pillow, with his eyes still turned to it, and his hands clasped in
prayer.

Sec. LVIII. On the opposite side of this chapel is another very lovely
tomb, to Duccio degli Alberti, a Florentine ambassador at Venice;
noticeable chiefly as being the first in Venice on which any images of
the Virtues appear. We shall return to it presently, but some account
must first be given of the more important among the other tombs in
Venice belonging to the perfect period. Of these, by far the most
interesting, though not the most elaborate, is that of the great Doge
Francesco Dandolo, whose ashes, it might have been thought, were
honorable enough to have been permitted to rest undisturbed in the
chapter-house of the Frari, where they were first laid. But, as if there
were not room enough, nor waste houses enough in the desolate city to
receive a few convent papers, the monks, wanting an "archivio," have
separated the tomb into three pieces: the canopy, a simple arch
sustained on brackets, still remains on the blank walls of the
desecrated chamber; the sarcophagus has been transported to a kind of
museum of antiquities, established in what was once the cloister of
Santa Maria della Salute; and the painting which filled the lunette
behind it is hung far out of sight, at one end of the sacristy of the
same church. The sarcophagus is completely charged with bas-reliefs: at
its two extremities are the types of St. Mark and St. John; in front, a
noble sculpture o