As memorials, tombs honoring great and influential persons are more likely to have remained partially if not fully intact over many centuries than are examples of either of the next two sorts of arcuated
structures to consider in interpreting the unique loggia of the Florentine Misericordia Company.
Part one addressed the Misericordia loggia proper and arcuated structures marking tombs and altars; part two considers sheltered thrones and venues for humanitarian actions, as well as instances where an arched or domical construction served more than one of these functions.
The arcuated throne canopy recurs in subsequent Italian art, verifying at second hand the continuing tradition of such an arrangement into the Renaissance era and beyond.
For additional references beyond those appearing in the notes that follow regarding arcuated throne canopies, see Deer, Dynastic Porphyry Tombs, 33 n.
Brown, "The Arcuated Lintel and Its Symbolic Interpretation in Late Antique Art," American Journal of Archaeology 46, no.
On the notion of a concave apse ceiling as substitute for an autonomous arcuated canopy, see above at notes 54, 55.