giving account of the much more disrespectful destruction, by the
Perugians, of the tombs of Pope Urban IV., and Martin IV.

Sending was made for John, you see, first, when Pope Urban IV. died in
Perugia--whose tomb was to be carved by John; the Greek fountain being
a secondary business. But the tomb was so well destroyed, afterwards,
that only a few relics remained scattered here and there.

The tomb, I have not the least doubt, was Gothic;--and the breaking of
it to pieces was not in order to restore it afterwards, that a living
architect might get the job of restoration. Here is a stone out of one
of Giovanni Pisano's loveliest Gothic buildings, which I myself saw
with my own eyes dashed out, that a modern builder might be paid for
putting in another. But Pope Urban's tomb was not destroyed to such
end. There was no qualm of the belly, driving the hammer,--qualm of the
conscience probably; at all events, a deeper or loftier antagonism than
one on points of taste, or economy.

44. You observed that I described this Greek profane manner of design
as properly belonging to _civil_ buildings, as opposed not only to
ecclesiastical buildings, but to military ones. Justice, or
Righteousness, and Veracity, are the characters of Greek art. These
_may_ be opposed to religion, when religion becomes fantastic; but they
_must_ be opposed to war, when war becomes unjust. And if, perchance,
fantastic religion and unjust war happen to go hand in hand, your Greek
artist is likely to use his hammer against them spitefully enough.

45. His hammer, or his Greek fire. Hear now this example of the
engineering ingenuities of our Pisan papa, in his younger days.