varied in flow than those of the
fig-tree from which they are partially copied, have none of its truth to
nature; they are ill set on the stems, bluntly defined on the edges, and
their curves are not those of growing leaves, but of wrinkled drapery.

Sec. XLII. Above these three sculptures are set, in the upper arcade, the
statues of the archangels Raphael, Michael, and Gabriel: their positions
will be understood by reference to the lowest figure in Plate XVII.,
where that of Raphael above the Vine angle is seen on the right. A
diminutive figure of Tobit follows at his feet, and he bears in his hand
a scroll with this inscription:

EFICE Q
SOFRE
TUR AFA
EL REVE
RENDE
QUIETU

i.e. Effice (quaeso?) fretum, Raphael reverende, quietum.[139] I could
not decipher the inscription on the scroll borne by the angel Michael;
and the figure of Gabriel, which is by much the most beautiful feature
of the Renaissance portion of the palace, has only in its hand the
Annunciation lily.

Sec. XLIII. Such are the subjects of the main sculptures decorating the
angles of the palace; notable, observe, for their simple expression of
two feelings, the consciousness of human frailty, and the dependence
upon Divine guidance and protection: this being, of course, the general
purpose of the introduction of the figures of the angels; and, I
imagine, intended to be more particularly conveyed by the manner in
which the small figure of Tobit follows the steps of Raphael, just
touching the hem of his garment. We have next to examine the course of
divinity and of natural history embodied by the old sculpture in the
great series of capitals which support the lower arcade of the palace;
and which, being at a height of little more than eight feet above the
eye, might be read, like the pages of a book, by those (the noblest men
in Venice) who habitually walked beneath the shadow of this great arcade
at the time of their first meeting each other for morning converse.

Sec. XLIV. The principal sculptures of the capitals consist of
personifications of the Virtues and Vices, the favorite subjects of
decorative art, at this period, in all the cities of Italy; and there is
so much that is significant in the various modes of their distinction
and general representation, more especially with reference to their
occurrence as expressions of praise to the dead in sepulchral
architecture, hereafter to be examined, that I believe the reader may
both