chapter x

.

[4] Benvenuti de Rambaldis de Imola, Comentum Super Dantis Aldighierij Comoediam. Tr. by the Hon. William Warren Vernon: _Readings on the Purgatorio_. London, Macmillan, 1897.

[5] “In an amphitheatre, ‘podium’ was the name for a railed basement which ran like a high enclosure round the whole circumference of the arena.” See Mollett, J. W., _An illustrated Dictionary of Words used in Art and Archæology_. London, Sampson Low, 1883.

[6] The extravagance in which Samaritana indulged contributed in no small degree to the decline and fall of her husband’s house. Her taste for jewellery was of a most ridiculous--not to say vulgar order. She heaped on jewels in profusion and would not put on her stockings unless they too were decorated with precious stones! She also excited the indignation of contemporary chroniclers by her insistance in sending to Ostiglia for some special unguents which she deemed necessary for beautifying her hair, and which were conveyed to this port on the Po at great expense from distant towns.

[7] Zagata.

[8] Belviglieri, _Verona e Provincia_, p. 341.

[9] It may be well to remind the reader that this arch which was taken down in 1805 stood originally near Castel Vecchio, and was the work of the famous architect Vitruvius Cerdone, whose name was engraved on the archway. The inscriptions formerly existing over the niches show that the statues belonging to them were of the Gavii family. Panvinio is of opinion that the arch was erected to the memory of that Gavius who was consul B.C. 145. Maffei on the other hand says that it was set up to the memory of the whole of the Gavii family.

[10] C. Cipolla, _Compendio della Storia Politica di Verona._ Verona, 1899.

[11] _Histoire des Républiques Italiennes_, Sismonde de Sismondi, Bruxelles, 1838, vol. i., ch. xv., p. 507.

[12] Alexander IV. issued letters for this crusade in 1255. It was preached next year by the Archbishop of Ravenna.

[13] J. A. Symonds, _Age of the Despots_. London, Smith, Elder & Co., 1898, ch. iii., p. 83, &c.

[14]

“Tenne ambo le chiavi Del cuor di Federigo.”--_Inf._ xiii. 58-59.

[15] “Tiranni Che diér nel Sangue e nell’ aver di piglio.”--_Inf._ xii. 104-105

[16] I am aware that I am destroying a legend that has found its way into nearly every guide-book and even into some histories of Verona by this assertion. But no Veronese of any culture or learning supports the popular tradition, or admits that the deed aroused such horror in the public mind as to brand the spot with a special name. The “Volto Barbaro” simply took its name from the Barbaro family who lived there, as the “Volto Marioni” in another part of the town did from the Marioni family--a fact that no one versed in Veronese matters would ever seek to gainsay or dispute.

[17] Giuseppe Biadego, _Dante e gli Scaligeri_, Venezia, 1899.

[18] _See_ Cipolla, _op. cit._ p. 208.

[19]

“Thine earliest refuge and thine earliest inn Shall be the mighty Lombard’s courtesy, Who on the ladder bears the holy bird, Who such benign regard shall have for thee That ’twixt you twain, in doing and in asking, That shall be first which is with others last. With him shalt thou see one who at his birth Has by this star of strength been so impressed, That notable shall his achievements be.” _Paradiso_, canto xvii., 76, &c. (Longfellow’s Translation).

[20] Giuseppe Biadego, _op. cit._, p. 12.

[21] _Op. cit._, p. 13.

[22] Boccaccio, Giornata I., Novella VII.

[23] Gio. Villani, _Istorie fiorentine_, lib. x., cap. 139.

[24] I have taken this translation from the Notes on the _Paradiso_, given in Longfellow’s translation of the _Divine Comedy_ (London, 1877). From there, too, have I taken the extract from Petrarch, which is to be found in Balbo’s _Life of Dante_, translated by Mrs Bunbury, ii. 207.

[25]

Ch’io veggio certamente, e perŏ il narro, A darne tempo, gia stelle propinque, Sicure d’ogni intoppo e d’ogni sbarro; Nel quale un cinquecento diece e cinque, Messo di Dio, ancideră la fuja Conquel gigante che con lei delinque.

[26] Vernon, Hon. William Warren, _Readings on the Purgatorio of Dante_. London, Macmillan, 1889, vol. ii., p. 429, &c.

[27] _Rithmi de obitu Henrici VII._, _ed. Freher_, _Germanie-rerum Scriptores_, i. 15, etc.

[28] Cipolla, C, _Storia delle Signorie italiani dal 1313 al 1350_. Milano, 1881, lib. i. iv.

[29] I have not gone into the lengthy and vexed question of the date of Cangrande’s birth. The year generally accepted is 1291, and that I have followed as the most probable one, and the one most deserving of acceptance.

[30] Cipolla, _op. cit. lib._ i. iv.

[31] _Verona and other Lectures._ Allen, Orpington, 1894.

[32] This is not the place to enlarge on the fine character and qualities of Regina della Scala; but it is interesting to note that one of the most famous theatres in Italy takes its name from her, and that the “Scala” at Milan was so called in honour of this daughter of Verona.

[33] _Op. cit._ p. 17.

[34] See pp. 30-31.

[35] P. Sgulmero.

[36] Published anonymously in 1799 by Cristoforo Tentori.

[37] Selwyn Brinton, _The Renaissance in Italian Art_, Part II., p. 37. Simpkin, London, 1898.

[38] _Op. cit._ p. 38, etc.

[39] _Op. cit._ p. 42.

[40] Handbook of Painting. The Italian schools--based on the handbook of Kugler--thoroughly revised and in part rewritten by Sir A. Henry Layard, London. Murray, 1887. Part I. p. 274.

[41] _The Stones of Venice._ John Ruskin, London. Smith, Elder & Co., 1858. Vol. i., Appendix 8, p. 361.

[42]

The artificer Nicholas who carved these things, The folk who here collect will praise for aye.

[43] _Op. cit._ p. 59.

[44] Since the above was written it has now (April 1902) been replaced above the chapel; but so high up as to be seen with difficulty.

[45] Ruskin, _Stories of Venice_, vol. i. Appendix 19.

[46] In this courtyard much might be done were the Town Council of Verona only as ready to lay out sums in guarding and preserving their old treasures as they are in erecting modern houses and “embellishments” to attract visitors to their city. Some fine arches dating from the time of the Scaligers remain here blocked up; and some lovely frescoes which ask only to be protected from sun and rain cry aloud in this Cortile for an attention which is persistently denied them.

[47] Ruskin, _Stones of Venice_, _op. cit._ vol. iii. p. 70, etc.

[48] The tablet runs as follows:--

Queste furono le case Dei Capuleti Onde uscì la Giulietta Per cui Tanto piansero i cuori gentili E i poeti cantarono.

These were the houses Of the Capulets From whence sprang Juliet For whom So many gentle hearts have wept And poets have sung.

[49] _Op. cit._ Part 1. p. 268.

[50] _Op. cit._ p. 59.

[51] _Op. cit._ p. 64.

[52] _Op. cit._ Part I. p. 264.

[53] Ruskin, _Verona and other Lectures_. Allen, 1894.

[54] _Op. cit._ p. 264.

[55] Selwyn Brinton, _op. cit._ p. 58, etc.

[56] _Spaventi-Guida di Verona_, p. 132.

[57] The authorship of this picture is open to doubt. It has been attributed to different masters in turn. Mr Berenson is of opinion that it is by Girolamo Mocetto, an opinion also held by Crowe and Cavalcaselle.

[58] C. Cipolla, _Compendio della Storia Politica di Verona_. Verona 1899. pp. 46 and 44.

[59] Layard, _op. cit._ p. 268.

[60] Layard, _op. cit._ p. 263.

[61]

... “and seemed to be of those Who at Verona run for the green mantle Across the plain; and seemed to be among them The one who wins, and not the one who loses.” --(Longfellow’s Translation.)

[62] Readings on the _Inferno_ of Dante, Hon. William Warren Vernon (London: Macmillan, 1894), vol. i. p. 532, etc.

[63] Layard, _op. cit._ Part I. p. 253.

[64] Selwyn Brinton, _op. cit._ p. 53.

[65] In