(28.) _Part of Cornice of the Sarcophagus of Mastino II._ (A.)
One of the most beautiful Gothic cornices in Italy; its effect being obtained with extreme simplicity of execution out of two ridges of marble, each cut first into one united sharp edge all along, and then drilled through, and modeled into leaf and flower.
(29.) _Sketch, real size, of the pattern incised and painted on the drapery of the Tomb of Can Mastino II._ (R.)
It is worth notice for the variety of its pattern; observe, the floral fillings of spaces resemble each other, but are never the same. There is no end, when one begins drawing detail of this kind carefully. Slight as it is, the sketch gives some idea of the easy flow of the stone drapery, and of the care taken by the sculptor to paint his pattern _as if_ it were bent at the apparent fold.
250. (30.) _Tomb of Can Signorio della Scala._
Samuel Prout's sketch on the spot; (afterwards lithographed by him in his "Sketches in France and Italy";) quite admirable in feeling, composition, and concise abstraction of essential character.
The family palace of the Scaligers, in which Dante was received, is seen behind it.
(31.) _A single niche and part of the iron-work of the Tomb of Can Signorio._ (R.)
As seen from the palace of the Scaligers; the remains of another house of the same family are seen in the little street beyond.
(32.) _Study of details of the top of the Tomb of Can Signorio._ (R.)
Needing more work than I had time for, and quite spoiled by hurry; but interesting in pieces here and there; look, for instance, at the varied size and design of the crockets; and beauty of the cornices.
(33.) _Bracket under Sarcophagus of Giovanni della Scala._ (A.)
Characteristic of the finest later treatment of flowing foliage.
251. (34.) _Part of the front of the Ducal Palace, Venice._ (R.)
Sketched, in 1852, by measurement, with extreme care; and showing the sharp window traceries, which are rarely seen in Photographs.
(35.) _Angle of the Ducal Palace, looking Seaward from the Piazzetta._ (R.)
Sketched last year, (restorations being threatened) merely to show the way in which the light is let through the edges of the angle by penetration of the upper capital, and of the foliage in the sculpture below; so that the mass may not come unbroken against the sky.