Simeon. In this latter sculpture, the face is
represented in death; the mouth partly open, the lips thin and sharp,
the teeth carefully sculptured beneath; the face full of quietness and
majesty, though very ghastly; the hair and beard flowing in luxuriant
wreaths, disposed with the most masterly freedom, yet severity, of
design, far down upon the shoulders; the hands crossed upon the body,
carefully studied, and the veins and sinews perfectly and easily
expressed, yet without any attempt at extreme finish or display of
technical skill. This monument bears date 1317, [Footnote: "IN XRI--NOIE
AMEN ANNINCARNATIONIS MCCCXVII. INESETBR." "In the name of Christ, Amen,
in the year of the incarnation, 1317, in the month of September," &c.]
and its sculptor was justly proud of it; thus recording his name:
"CELAVIT MARCUS OPUS HOC INSIGNE ROMANIS,
LAUDIBUS NON PARCUS EST SUA DIGNA MANUS."
SECTION XXXIX. The head of the Noah on the Ducal Palace, evidently
worked in emulation of this statue, has the same profusion of flowing
hair and beard, but wrought in smaller and harder curls; and the veins
on the arms and breast are more sharply drawn, the sculptor being
evidently more practised in keen and fine lines of vegetation than in
those of the figure; so that, which is most remarkable in a workman of
this early period, he has failed in telling his story plainly, regret
and wonder being so equally marked on the features of all the three
brothers that it is impossible to say which is intended for Ham.
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