ports of Daru and the English history. I have
placed his letter in the close of this volume (Appendix 6), in order
that the reader may himself be the judge upon this point; and I should
not have alluded to Daru's report, except for the purpose of
contradicting it, but that it still appears to me impossible that any
modern historian should have gratuitously invented the whole story, and
that, therefore, there must have been a trace in the documents which
Daru himself possessed, of some scandal of this kind raised by
Morosini's enemies, perhaps at the very time of the disputed election
with Carlo Zeno. The occurrence of the Virtues upon his tomb, for the
first time in Venetian monumental work, and so richly and conspicuously
placed, may partly have been in public contradiction of such a floating
rumor. But the face of the statue is a more explicit contradiction
still; it is resolute, thoughtful, serene, and full of beauty; and we
must, therefore, for once, allow the somewhat boastful introduction of
the Virtues to have been perfectly just: though the whole tomb is most
notable, as furnishing not only the exact intermediate condition in
style between the pure Gothic and its final Renaissance corruption, but,
at the same time, the exactly intermediate condition of _feeling_
between the pure calmness of early Christianity, and the boastful pomp
of the Renaissance faithlessness; for here we have still the religious
humility remaining in the mosaic of the canopy, which shows the Doge
kneeling before the cross, while yet this tendency to self-trust is
shown in the surrounding of the coffin by the Virtues.

Sec. LXIX. The next tomb by the side of which they appear is that of
Jacopo Cavalli, in the same chapel of St. John and Paul which contains the
tomb of the Doge Delfin. It is peculiarly rich in religious imagery,
adorned by boldly cut types of the four evangelists, and of two saints,
while, on projecting brackets in front of it, stood three statues of
Faith, Hope, and Charity, now lost, but drawn in Zanotto's work. It is all
rich in detail, and its sculptor has been proud of it, thus recording his
name below the epitaph:

"QST OPERA DINTALGIO E FATTO IN PIERA,
UNVENICIAN LAFE CHANOME POLO,
NATO DI JACHOMEL CHATAIAPIERA."

This work of sculpture is done in stone;
A Venetian did it, named Paul,
Son of Jachomel the stone-cutter.

Jacopo Cavalli died in 1384. He was a bold and active Veronese soldier,
did t