old arches remain also in the lowest stage, which, though now built up, are still valuable as examples of the best mode of treating brickwork. They consist of three orders—the two inner formed of alternate voussoirs of brick and stone, carefully and regularly counterchanged, and the outer of a moulded terra-cotta ornament. Between each of these lines a brick of deep red colour is set edgeways, shewing a dark line of little more than an inch and a half in width, and valuable as very clearly defining the lines of the arch. All these courses are on the same plane; and probably another rim of the arch is concealed by the walling which has been filled in underneath.[61]
Going on from the Piazza San Pietro, and passing under an archway, we came upon the Castello di Corte, also a part of the ancient palace of the Gonzaga family, who were for a long time lords of Mantua. It is certainly a very remarkable piece of mediæval fortification, but its effect is much damaged by the erection of walls between the battlements, which in my view I have thought it much better to shew in their original state, which is evident enough upon careful inspection. The heavy machicolations which run round the main building have a peculiar and rather grand effect, particularly in the flanking towers. This portion of the palace is said to have been erected just at the close of the fourteenth century.
Close to the Castello di Corte is the Ponte di San Giorgio, one of the entrances to the city, and built between the Lago di Mezzo and the Lago Inferiore.
Retracing our steps, we soon found ourselves at the great Palazzo della Ragione, or town-hall. It has been very much altered, but one gateway remains in a very perfect state, and is quite worthy of illustration. The marble shafts in the upper stage of the building are coupled one behind the other with very beautiful effect. Brick and stone are used alternately in the main arch of this gateway, with thin dividing lines of brick, as in the Vescovato. In a wall close to the gate is a sitting figure, intended, it is said, to represent Virgil, of whom the Mantuans are still, as in duty bound, very proud. I cannot say much for the figure or its canopy, both of which are, however, mediæval.
We found nothing else worthy of notice in this building; but close to it stands the church of Sant’Andrea, a hideous Renaissance edifice tacked on to a most beautiful brick campanile.