I engraved his head and breast, seen from the other side, in the plate of "True and False Griffins," in "Modern Painters." Only the back of the head and neck of the small dragon he holds in his fore-claws can be seen from this side.
(5.) _Capital of the Pillar sustained by the Griffin, of which the base is seen in No. 4._ (A.)
First-rate sculpture of the time, and admirably drawn.
(6.) _Portion of decorative Lombardic molding from the South Side of the Duomo._ (A.)
Showing the peculiar writhing of the branched tracery with a serpentine flexure--altogether different from the springing lines of Gothic ornament. It would be almost impossible to draw this better; it is much more like the real thing than a cast would be.
(7.) _Lion, with Dragon in its claws, of Lombardic sculpture_ (now built into a wall at Venice); _above it, head of one of the Dogs which support the Tomb of Can Grande, at Verona._ (R.)
The lion--in its emaciated strength, and the serpent with its vital writhe and deadly reverted bite, are both characteristic of the finest Lombard work. The dog's head is 14th century Gothic--a masterpiece of broad, subtle, easy sculpture, getting expression with every touch, and never losing the least undulation of surface, while it utterly disdains the mere imitation of hair, or attainment of effect by deep cutting.
244. (8.) _North Porch of the Church of St. Fermo._ 13th century. (B.)
Mr. Bunney's drawing is so faithful and careful as almost to enable the spectator to imagine himself on the spot. The details of this porch are among the most interesting in the Gothic of Italy, but I was obliged, last year, to be content with this general view, taken in terror of the whole being "restored"; and with the two following drawings.
(9.) _Base of the Central Pillar. North Porch, St. Fermo._ (B.)
In facsimile, as nearly as possible, and of the real size, to show the perpetual variety in the touch; and in the disposition and size of the masses.
(10.) _Shaft-Capitals of the Interior Arch of the North Porch, St. Fermo._ (B.)
Contrived so that, while appearing symmetrical, and even monotonous, not one lobe of any of the leaves shall be like another.
Quite superb in the original, but grievously difficult to draw, and losing, in this sketch, much of their grace.