§ XIX. Here, then, are two great new elements visible; energy and naturalism:--Life, with submission to the laws of God, and love of his works; this is Christianity, dealing with her classical models. Now look back to what I said in Chap. 1. § XX. of this dealing of hers, and invention of the new Doric line; then to what is above stated (§ VIII.) respecting that new Doric, and the boughs of trees; and now to the evidence in the cutting of the leaves on the same Doric section, and see how the whole is beginning to come together. § XX. We said that something would come of these two cornices, _a_ and _d_. In _e_ and _f_ we see that something _has_ come of them: _e_ is also from St. Mark's, and one of the earliest examples in Venice of the transition from the Byzantine to the Gothic cornice. It is already singularly developed; flowers have been added between the clusters of leaves, and the leaves themselves curled over: and observe the well-directed thought of the sculptor in this curling;--the old incisions are retained below, and their excessive rigidity is one of the proofs of the earliness of the cornice; but those incisions now stand for the _under_ surface of the leaf; and behold, when it turns over, on the top of it you see true _ribs_. Look at the upper and under surface of a cabbage-leaf, and see what quick steps we are making. § XXI. The fifth example (_f_) was cut in 1347; it is from the tomb of Marco Giustiniani, in the church of St. John and Paul, and it exhibits the character of the central Venetian Gothic fully developed. The lines are all now soft and undulatory, though elastic; the sharp incisions have become deeply-gathered folds; the hollow of the leaf is expressed completely beneath, and its edges are touched with light, and incised into several lobes, and their ribs delicately drawn above. (The flower between is only accidentally absent; it occurs in most cornices of the time.) But in both these cornices the reader will notice that while the naturalism of the sculpture is steadily on the increase, the classical formalism is still retained. The leaves are accurately numbered, and sternly set in their places; they are leaves in office, and dare not stir nor wave. They have the shapes of leaves, but not the functions, "having the form of knowledge, but denying the power thereof." What is the meaning of this? § XXII. Look back to the XXXIIIrd paragraph of the first chapter, and you will see the meaning of it. These cornices are the Venetian Ecclesiastical Gothic; the Christian element struggling with the Formalism of the Papacy,--the Papacy being entirely heathen in all its principles. That officialism of the leaves and their ribs means Apostolic succession, and I don't know how much more, and is already preparing for the transition to old Heathenism again, and the Renaissance.[86]