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Retreating farther into Antiquity for the sources of the arcuated throne canopy leads back once again to the Orient and reaffirms the link between that motif and the concept of the divine origins of earthly prerogative.
Even more useful to the discussion here than are those actual early-medieval starry domes, Simeon's tripartite equation is especially helpful because it signals that the discreteness suggested earlier for all three categories of arcuated canopies described thus far--covering thrones, tombs, and now altars as well--is less than absolute.
Equally influential was the original arcuated structure of a few years later marking the tomb of Saint Peter, also described previously, which from the beginning was physically associated with the high altar of Old Saint Peter's, although exactly how is disputed.
Beyond the prototypes offered by such works of portable Byzantine art, the presence of arcuated canopies in early Italian scenes of burial is explained more directly by reference to the ceremonial baldachins of stone framing Italian monumental wall-tombs for the honored dead, ecclesiastical and lay, of the later dugento and trecento.
In the next generation, Tino di Camaino developed the arcuated wall-tomb further, drawing additional elements from Arnolfo and, it seems, from his probable master Giovanni Pisano as well.
Like the trabeated tomb baldachins with pitched roofs of the Late Middle Ages that saw limited favor in Rome and Southern Italy, the arcuated form that triumphed not only on Italian soil but in Northern Europe as well had fully freestanding sources that predate the enfeu wall-tomb and ultimately even the arcosolium.