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
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