_Piazza dei Signori_--_Sta. Maria Antica_--_Tombs of the Scaligers_
Under the archway known as that of “La Costa,” from the thigh bone of
some antidiluvian monster which hangs from it, the way leads from the
Piazza delle Erbe to the Piazza dei Signori, or Piazza Dante as it is
frequently called, a name it takes from a statue of the poet by Ugo
Zannoni, placed there in 1865. This Piazza teems with every personal
association relating to the Scaligers. Their public and private life
centred round this spot; for while it was here that their
dwelling-houses were built and their seat of government set up, it was
also close by here that the little church of Sta. Maria Antica stood
where they worshipped, and beside whose walls are grouped the tombs that
glorify them in death.
Entering from the Piazza delle Erbe the first building on the right is
the Palazzo della Ragione, now used, as in days of yore, for government
offices, and where the traces of old and former windows are still to be
seen. On the outside wall a tablet records that “Guglielmo dall’Ossa,” a
Milanese, being “Podestă of the Comune, this palace known as that
Della Ragione was built in 1183 for the public offices.” Below this
tablet is an archway leading into a courtyard built chiefly of brick and
marble, with fine rounded arches all much restored, and from whose midst
rises a
[Illustration: PIAZZA DEI SIGNORI]
glorious outer staircase leading to the first floor of the building
where an exhibition of modern works of art is kept. The outline of a
huge lion of St Mark is to be seen on the outside of the Palazzo della
Ragione, which shared the same fate as the one of the column in the
Piazza delle Erbe at the moment of “Les Pâques Véronaises.” The whole
exterior of the palace bears marks of having undergone much restoration,
most of which was done in the sixteenth century. Indeed there is not
much in this Piazza which has not been repaired or altered at one time
or another, and now and again it requires much care and study to make
out the original design and material once used for the construction of
this historic spot.[46]
On the other side of the Via Dante stands the battlemented tower of the
Scaligers flanking the Palazzo Tribunalizio, where a tablet states that
“Cansignorio della Scala, Podestă and Captain of the people from
December 14, 1359, to October 10, 1375, when he died, built and
inhabited this palace, which was remodelled in the sixteenth century
into rooms for the Venetian Captaincy.” This tower with its forked
battlements was at one time a handy prison-house for any who fell under
the displeasure of the Scaligers. A doubtful legend runs that no less
than four hundred prisoners (one writer says they were only fifty-three)
were once confined within its walls, and that to the surprise of all who
were not in the secret
[Illustration: OUTSIDE STAIRCASE, PUBLICO PALAZZO
It is interesting to compare these two sketches. The first shows
the staircase as it stood some four years ago with an upper
colonnade of fine “Cinquecento” work. The second shows that work
swept away, under the delusion that it was better to see the
staircase in its original form.
]
the whole number died “naturally” in one day! The further statement that
they had all died of the same complaint gave a momentary alarm as to an
outbreak
[Illustration: THE OUTSIDE STAIRCASE, PALAZZO DELLA RAGIONE]
of the plague, but as no further victims succumbed this alarm also died
away.
A doorway by the great architect, San Micheli leads into a courtyard
where traces of lovely but fast vanishing frescoes show what glories
once reigned around, and remind one that barbarous and cruel in many
ways as the rulers of Verona were, they were not indifferent to the
beautifying of their town, nor to that patronage of art which rightly or
wrongly we associate with a noble nature.
On one side of the courtyard are some arches of pointed brick-work
supported by stone columns with slightly decorated capitals, a work
which was executed under the Venetian rule. Opposite is seen the Porta
dei Bombardieri, an ugly erection of stone cannons, drums and implements
of war which was set up in 1687. Inside this courtyard is a striking
inscription in honour of Zaccaria Barbaro, who was the Podestă
appointed by Venice over Verona during the latter half of the fifteenth
century. It is recorded of him that he restored three castles in the
city and several in the country, as well as changing the prætor’s house
from wood to stone. His special claim to admiration, however lies in the
fact that at a moment of scarcity of corn “he saw to relieving hunger,
that he governed with integrity, administering equal rights to all, so
that at the close of his office the people remembered him with tears,
1476.”
A way was opened out from this courtyard by the Commune in 1817, so as
to give employment to the work people of the town, it being then a time
of dire want. This way leads to a small public garden, used as a
Botanical School, and that was formerly the garden of Cansignorio della
Scala.
The next building of the Scaligers in the Piazza dei Signori is that
built by Mastino I. (1272) and where
[Illustration: FIFTEENTH CENTURY WELL IN VIA MAZZANTI]
he and his descendants actually lived. It is now used as the Prefettura,
and as in the Tribunale Guidiziario (built by Mastino’s brother,
Alberto), little of the old buildings remain, and less still of the
frescoes and decorations that once adorned them. It is known, and has
been mentioned, that at Cangrande’s orders Giotto decorated much of this
home of the Scalas, that portraits of Dante, of Uguccione della
Faggiuola, and other illustrious men were drawn by him here. No trace
however remains either of his work, or of that of Altichiero who is also
said to have worked here, to convey even an idea of what was once to be
seen.
At right angles with this former residence of the lords of Verona stands
the Palazzo del Consiglio, or old Town hall, more often called La Loggia
di Fra Giocondo, though critics are not agreed as to whether he designed
the Loggia or whether it is the work of Antonio Riccio, or Rizzo, a
Veronese. It is generally attributed to Fra Giocondo, and is a most
perfect and beautiful example of Renaissance style. It was erected by
order of the Venetian Republic in 1497, and is reckoned as one of the
loveliest buildings of that time in the North of Italy. It is a pity
that a good deal of unnecessary gilding was added in 1873 when the
building underwent some restoration. High up on the corner pillar to the
left is to be seen a figure in a monk’s dress, which without sufficient
warrant is accepted as that of Fra Giocondo; while above are statues of
the men who by their learning or deeds have brought celebrity to
themselves and to Verona--Catullus; Cornelius Nepos; Pliny the younger;
Vitruvius Cerdo; and others. Within the Loggia are two figures in bronze
by Girolamo Campagna, which formerly stood outside and which represent
the Annunciation. Around are busts of men who have deserved well of
their town in modern days. The original design to carry on the
Renaissance work of this Palace all along the same side of the square
was never fulfilled, and the archway which carries on its topmost height
a statue of Fracastoro, the eminent poet and physician, closes the line
of marked and beautiful architecture. The building on the other side of
this beautiful archway leads to another archway in brick over which is a
statue of the Marchese Scipione Maffei, the historian (d. 1755).
Passing under this archway into the Via Mazzanti is a lovely old
fountain bearing the date of 1478 on the architrave. It is composed
chiefly of the red marble from Sant’ Ambrogio (a few miles outside
Verona), and is as good and perfect a specimen of its kind as can be
seen anywhere. Almost opposite this fountain or well in the Via Rosa is
a strange Latin inscription which records an important gift to the town
by a member of the grand old Roman family de’ Gavi. It tells how this
noble patrician brought an acqueduct through Verona right over to the
left bank of the Adige; an undertaking for which he had to pay the sum
of 500,000 sertices. A noble and generous gift when we reflect that such
a sum would nowadays represent some £5000. Between the Volto Barbaro and
the Via la Costa is a fine brick building, now much defaced by
decorations of the seventeenth century. It was originally designed in
1273 as a palace for “i Giudici assessori,” but an earthquake in 1511
partly ruined it and modern alterations have reduced it to its present
condition.
Crossing the Piazza again past the Palace of the Tribunes, we come at
once to the church of St Maria Antica and the Tombs of the Scaligers. It
is well to enter for a moment into the small, dim Lombardic church of St
Maria Antica, the church used by the Scaligers as their private chapel,
and around which they elected to have their burial ground. The church
was built originally by the monks of St Oliveto, and dates from about
the year 1000. Its restoration done in recent times, though it has left
probably little of the original building, has been carried out with
taste and judgment. The stern, simple lines of the arches, the stone
capitals and pillars are effective and dignified, and act as a fitting
preparation for the grand monuments which stand outside, and which
merit
[Illustration: EFFIGY OF CANGRANDE]
the closest study. The first is that of Francesco della Scala, better
known as Cangrande, whose rule as sole lord after his brother Albono’s
death lasted from 1311 to 1329. His monument stands over the entrance to
the church, and is surmounted by a gracefully cusped canopy, on the top
of which is placed an equestrian statue of the greatest of the Della
Scala family. A marble sarcophagus rests under the canopy, upheld by
four lovely columns with Corinthian capitals, and on the sarcophagus is
stretched a recumbent figure of Cangrande, “with hands clasped fast as
if still in prayer.” His effigy above on horseback is that of a knight
in armour; his horse clad too for battle. He holds a huge sword in his
hand, his helm is flung far back behind his shoulders. The rider turns
his face towards you and smiles, an indication it may be that Death, for
whom he had no fear while yet in this life, has equally no dread for him
now that he is to meet him face to face. The tomb rests on the figures
of two great mastiffs, apt emblems of the “Cangrande” who sleeps above,
and who support with doglike fidelity the shields emblazoned with
ladders (_scala_) committed to their charge.
The other tombs all stand in a piece of enclosed ground round the
church, and are fenced in with a railing of beautiful wrought ironwork,
buckled together so as to be shaken easily by the hand, and adorned at
every point with the family device of the ladder. The first tomb inside
this small cemetery is that of Mastino I., the founder of the family,
who rests under a plain marble sarcophagus, whereon is carved a cross,
and where are engraved not only the Scala arms, but those too of Antonio
Nogarola, who was with Mastino at the moment when he was assassinated,
and who shared the same fate, and evidently the same grave. Beyond that
is the tomb of Mastino’s brother, Alberto I., who died in 1301. This too
is of red marble, but much more ornamented than the first, where besides
a relief of Alberto kneeling before the Blessed Virgin, are other
reliefs of palm branches, heraldic devices, griffins, birds, and so
forth. But the monuments which claim especial attention after that of
Cangrande I., are those of Mastino II., and of his son Consignorio.
These are likewise formed of three stories, having the equestrian statue
above the apex, and the recumbent figure laid upon the sarcophagus. Each
however is in its turn more decorated, richer in design and carving, and
more elaborate both as to conception and execution than that of the
“Great Dog.” The tomb of Mastino II. is by one Perino of Milan, and the
bold, fine way in which the architect has planned and carried out his
work proves him to have been a master of his art. His plan of placing
the pyramid or apex with the horse and his rider on the four pillars of
Verona marble is very striking; while the perfect way in which these
shafts bear the weight laid on them is a model of skill and of beauty.
On the façades of the arches are high reliefs representing Old Testament
characters; and the bas-reliefs on the stone coffin are equally taken
from Old Testament stories. Mastino is shown with his vizor drawn and
his features completely hidden from view. As has been seen in Mastino’s
history, his actions were not always honourable, nor his expeditions
always successful. The legend (alluded to in chapter iv.) as to his
never having shown his face again, even to his wife Taddea da Carrara,
after the murder of the bishop Bartolomeo della Scala (1338), would seem
to have taken shape in his monument, and his desire as to concealing his
features even after death was evidently respected to the end.
In the north-east corner of the little cemetery stands the most gorgeous
of the Scaliger tombs. It is that of Cansignorio, and was raised by him
during his lifetime, the architect and sculptor being Bonino da
Campiglione. This monument far exceeds that of Cangrande I. and Mastino
II. in exuberance of ornamentation and in richness of detail.
Cansignorio was evidently determined to atone for the lack of godliness
and goodness in his nature by an ostentatious display of saintly
characters and saintly actions about his tomb. As has been shown, he was
cunning, ambitious, and cruel, and a fratricide twice told. He had
nevertheless no hesitation in causing himself to be represented as being
received by our Lord and His mother in an
[Illustration: MONUMENT OF GIOVANNI DELLA SCALA, VERONA]
attitude of devotion, and probably had no misgivings as to the eventful
fulfilment of the scene thus given. The monument is hexagonal, supported
on six columns; the canopy and apex are of Verona marble, of the kind
known as “mandolato,” while the inside dome of the canopy is painted
with gold stars on a blue ground. Six figures of warrior saints on
square pilasters keep watch over this lord of Verona (who some writers
say was neither a saint nor a warrior) and are St Quirinus, St
Valentine, St George, St Sigismund, St Martin, and St Louis. Above them
again are the figures of Faith, Hope, Charity, Prudence, Justice, and
Fortitude; while to crown the whole is the effigy of Cansignorio himself
on horseback, with his vizor raised and the “scala” on his breast. This
badge of the family is brought in at every possible
[Illustration: TOMB OF CANSIGNORIO DELLA SCALA]
opportunity, and is always here shown surmounted by the Cross.
Very beautiful also is the tomb of Giovanni della Scala, an illegitimate
member of the family, and Vicar-General of Vicenza. His remains, first
buried in the church of St Fermo Minore, were afterwards brought here,
and laid to rest with every honour, and in a manner befitting such
impressive surroundings. These monuments are Gothic in style, and may
justly rank among the finest things that the fourteenth century has
produced in this way. It must be borne in mind that they were fashioned
before Verrocchio and Donatello had executed the works which were to
astonish the world, and model for after generations the types of
equestrian statues which were to serve as guides for all ages to come.
It will be well to refresh our memories with Ruskin’s beautiful words as
to these tombs, words which were poured forth in all the glow of
admiration and enthusiasm over objects he loved so well, and which he
describes in language which cannot be heard too often.
“At Verona, where the great Pisan school had strong influence, the
monumental sculpture is immeasurably finer than at Venice; and so early
as about the year 1335, the consummate form of the Gothic tomb occurs in
the monument of Cangrande della Scala at Verona. It is set over the
portal of the chapel anciently belonging to the family. The sarcophagus
is sculptured with shallow bas-reliefs representing (which is rare in
the tombs with which I am acquainted in Italy, unless they are those of
saints), the principal achievements of the warrior’s life, especially
the siege of Vicenza and battle of Piacenza; these sculptures, however,
form little more than a chased and roughened groundwork for the fully
relieved statues representing the Annunciation, projecting boldly from
the front of the sarcophagus. Above, the lord of Verona is laid in his
long robe of civil dignity, wearing the simple bonnet, consisting merely
of a fillet bound round the brow, knotted and falling on the shoulder.
He is laid as asleep; his arms crossed upon his body, and his sword by
his side. Above him, a bold arched canopy is sustained by two projecting
shafts, and on the pinnacle of its roof is the statue of the knight on
his war-horse; his helmet, dragon-winged and crested with the dog’s
head, tossed back behind his shoulders, and the broad and blazoned
drapery floating back from his horse’s breast,--so truly drawn by the
old workman from the life, that it seems to wave in the wind, and the
knight’s spear to shake, and his marble horse to be evermore quickening
its pace, and starting into heavier and hastier charge, as the silver
clouds float fast behind it in the sky.
“Now observe, in this tomb as much concession is made to the pride of
man as may ever consist with honour, discretion, or dignity. I do not
enter into any question respecting the character of Can Grande, though
there can be little doubt that he was one of the best among the nobles
of his time; but that is not to our purpose. It is not the question
whether his wars were just, or his greatness honourably achieved; but
whether, supposing them to have been so, these facts are well and
gracefully told upon his tomb. And I believe there can be no hesitation
in the admission of its perfect feeling and truth. Though beautiful, the
tomb is so little conspicuous or intrusive that it serves only to
decorate the portal of the little chapel, and is hardly regarded by the
traveller as he enters. When it is examined, the history of the acts of
the dead is found subdued into dim and minute ornament upon his coffin;
and the principal aim of the monument is to direct the thoughts to his
image as he lies in death, and to the expression of his hope of
resurrection; while, seen as by the memory, far away, diminished in the
brightness of the sky, there is set the likeness of his armed youth,
stately, as it stood of old in the front of battle, and meet to be thus
recorded for us, that we may now be able to remember the dignity of the
frame, of which those who once looked upon it hardly remembered that it
was dust.
“This, I repeat, is as much as may ever be granted, but this ought
always to be granted to the honour and affection of men. The tomb which
stands beside that of Can Grande, nearest it in the little field of
sleep, already shows the traces of erring ambition. It is the tomb of
Mastino II., in whose reign began the decline of his family. It is
altogether exquisite as a work of art; and the evidence of a less wise
or noble feeling in its design is found only in this, that the image of
a virtue, Fortitude, as belonging to the dead, is placed on the
extremity of the sarcophagus, opposite to the Crucifixion. But for this
slight circumstance, of which the significance will only be appreciated
as we examine the series of later monuments, the composition of this
monument of Can Mastino would have been as perfect as its decoration is
refined. It consists, like that of Can Grande, of the raised
sarcophagus, bearing the recumbent statue, protected by a noble
four-square canopy, sculptured with ancient scripture history. On one
side of the sarcophagus is Christ enthroned, with Can Mastino kneeling
before Him; on the other, Christ is represented in the mystical form,
half-rising from the tomb, meant, I believe, to be at once typical of
His passion and resurrection. The lateral panels are occupied by statues
of the saints. At one extremity of the sarcophagus is the Crucifixion;
at the other, a noble statue of Fortitude, with a lion’s skin thrown
over her shoulders, its head forming a shield upon her breast, her
flowing hair bound with a narrow fillet, and a three-edged sword in her
gauntleted right hand, drawn back sternly behind her thigh, while in her
left, she bears high the shield of the Scalas.
“Close to this monument is another, the stateliest and most sumptuous of
the three; it first arrests the eye of the stranger, and long detains
it--a many pinnacled pile, surrounded by niches with statues of the
warrior saints.
“It is beautiful, for it still belongs to the noble time, the latter
part of the fourteenth century; but its work is coarser than that of the
other, and its pride may well prepare us to learn that it was built for
himself, in his own life-time, by the man whose statue crowns it, Can
Signorio della Scala. Now observe, for this is infinitely significant.
Can Mastino II. was feeble and wicked, and began the ruin of his house;
his sarcophagus is the first which bears upon it the image of a Virtue,
but he lays claim only to Fortitude. Can Signorio was twice a
fratricide, the last time when he lay upon his death-bed: his tomb bears
upon its gables the images of six Virtues--Faith, Hope, Charity,
Prudence, and (I believe) Justice and Fortitude.”[47]
Not far from “le Arche degli Scaligeri,” and going towards the Piazza
Indipendenza is a beautiful example of an old house, dating perhaps from
the year 1000. Though it is in a dreadful state of neglect and dirt (it
is now used for stabling humble vehicles and ponies), the beauty of the
brickwork and of different styles of arches--some round, some
pointed--is very apparent. The old wooden forked battlements are very
uncommon and interesting; and a legend which says that the house was
once that of Romeo is so apposite we would fain believe it to be true
even while knowing it to be altogether impossible.