it sanguine classes.
Suscipit oblatos princeps Laurentius Istros,
Et domuit rigidos, ingenti strage cadentes,
Bononie populos. Hinc subdita Cervia cessit.
Fundavere vias pacis; fortique relicta
Re, superos sacris petierunt mentibus ambo.

Dominus Jachobus hobiit[20] M. CCLI. Dominus Laurentius hobiit
M. CCLXXVIII."

You see, therefore, this tomb is an invaluable example of
thirteenth-century sculpture in Venice. In Plate VI., you have an
example of the (coin) sculpture of the date accurately corresponding in
Greece to the thirteenth century in Venice, when the meaning of symbols
was everything, and the workmanship comparatively nothing. The upper
head is an Athena, of Athenian work in the seventh or sixth
century--(the coin itself may have been struck later, but the archaic
type was retained). The two smaller impressions below are the front and
obverse of a coin of the same age from Corinth, the head of Athena on
one side, and Pegasus, with the archaic Koppa, on the other. The smaller
head is bare, the hair being looped up at the back and closely bound
with an olive branch. You are to note this general outline of the head,
already given in a more finished type in Plate II., as a most important
elementary form in the finest sculpture, not of Greece only, but of all
Christendom. In the upper head the hair is restrained still more closely
by a round helmet, for the most part smooth, but embossed with a single
flower tendril, having one bud, one flower, and, above it, two olive
leaves. You have thus the most absolutely restricted symbol possible to
human thought of the power of Athena over the flowers and trees of the
earth. An olive leaf by itself could not have stood for the sign of a
tree, but the two can, when set in position of growth.

I would not give you the reverse of the coin on the same plate, because
you would have looked at it only, laughed at it, and not examined the
rest; but here it is, wonderfully engraved for you (Fig. 6): of it we
shall have more to say afterwards.

[Illustration: VI.

ARCHAIC ATHENA OF ATHENS AND CORINTH.]

81. And now as you look at these rude vestiges of the religion of
Greece, and at the vestiges still ruder, on the Ducal tomb, of the
religion of Christendom, take warning against two opposite errors.

There is a school of teachers who will tell you that nothing but Greek
art is deserving of study, and that all our work at this day should be
an imi