Chap. III. THE COSMATI. 103 tecture and sculpture. The tomb of Cardinal Gonsalvo in S. Maria Maggiore is inscribed: Hie depositus fuit quonda dhs Gunsalvus eps albanen. ann. Dili 1299. hoc op. fee. Johes magri Cosme civis Romanus. The recumbent statue of the Cardinal lies in episcopals on a slab, whilst two angels standing at the sides seem reverently to disclose his person by lifting the folds of a winding sheet. A cloth hangs over the tomb which is worked in mosaic; and a trefoil niche contains a mosaic of the Virgin enthroned holding the infant Saviour and supported on each side by the standing figures of S. Martin and S. Mathew. A certain readiness of movement and nature in the attitudes reveal the progress of art in the family of the Cosmati. More it would be idle to say considering the very great damage produced by res toring. 1 But Johannes Cosme yielded the most convincing proof that the impulse given to art by Giotto 2 was not lost upon him when, in 1304, he executed the tomb of Guillaume Durand, bishop of Mende, at S. Maria Sopra Minerva, a monument in which earnestness of purpose and judicious balance of parts were combined with progress in the rendering of form. The bishop was represented at full length on the slab of a tomb covered with an embroid ered cloth, whilst two winged angels, firmly standing at each extremity, raised a curtain. In the recess formed by an arch supported on inlaid pillars, the Virgin sat enthroned in a vast chair, holding the infant Saviour in the act of blessing, between a saint in episcopals and the bending form of S. Dominick. 3 This group was executed in mosaic, now half restored in stucco and repainted, and the arch forming the recess, — 1 Agincourt (Vol. II, Text, p. 51, | 2 Giotto had been at Rome be- note a) sees the hand of Arnolfo in tween 1298 and 1300. the sculpture of this monument and j that of Johannes Cosme in the ar- j Rehind each of the side figu- chitecture,hut what of tliemosaic? | res a candelabra.
