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 “Podesta 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

PIAZZA DEI SIGNORI
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, Podesta 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

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

THE OUTSIDE STAIRCASE, PALAZZO DELLA RAGIONE
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 Podesta 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

FIFTEENTH CENTURY WELL IN VIA MAZZANTI
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

EFFIGY OF CANGRANDE
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

MONUMENT OF GIOVANNI DELLA SCALA, VERONA
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

TOMB OF CANSIGNORIO DELLA SCALA
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.