They differ in that the Saint Donatus shrine lacks a canopy, and also in that it does not depend on arcuated forms except in a secondary way (the sculptures of the upper registers are framed by arched moldings).
But several occasions exist in fourteenth-century Italian monumental art where an arcuated aedicule must be interpreted in a fully three-fold manner, as marking a tomb, an altar, and a throne simultaneously.
103) The pertinence of this observation becomes clear when considering the fourth narrative context for the arcuated canopy or dome in early Italian art, returning this inquiry to the loggia of the Florentine Misericordia Confraternity: those occasions on which one individual ministers to another.
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.
52 Again in this case, as for the appearance of arcuated structures in funerary scenes, many further examples in early Italian art exist.
53) In fact, pictorial evidence for the common presence of the arcuated altar baldachin in Christian worship retreats to the first centuries of art within that tradition; the lower cupola mosaics of uncertain early date in Hagios Giorgios at Salonika, portraying pairs of saints flanking altars with domed canopies, and the Stuma and Riha patens from the late fifth or early sixth century are exemplary in this regard (fig.