CHAPTER VIII

_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