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This arch is the side of a niche from the tomb of Can Signorio della Scala, at Verona; and the value, as well as the distant expression of its dogtooth, may be seen by referring to Prout's beautiful drawing of this tomb in his "Sketches in France and Italy."
The bishop in purple, his canons in scarlet, his cross-bearer, his chaplains and singing-men, the bearer of his mitre, his ring on a cushion; after these the archdeacon and his chaplains, the clergy of the city, heads of religious orders, representatives of the civil arm, Can Signorio with the officers of his household; finally, the silent, eager people, edging past each other, whispering, craning their heads to see what there was and what there was not to be seen.
Harford must have been acquainted, is that afforded by the tombs of the Scaligeri at Verona, where, on the monument to Can Signorio, of the latter part of the fourteenth century, appear Faith, Hope, Charity, Prudence, and other allegorical figures. Again, in speaking of the old basilica of St.
There might have been reason for this in the circumstance that Can Grande II. had been warned of his sin, had nevertheless set out to commit it, and had died in the act, as it had been foretold. To discuss all this in the hearing of Can Signorio, his successor, might have been a task too delicate for the bishop.
Six hired daggers hacked the life out of them and their hearts from their bodies. To this day the unwholesome place is called for a testimony the "Volto Barbaro," the horrid entry. So died in his sin Can Grande II., a man who feared nothing and won nothing but fear, and Can Signorio his son reigned in his stead.
His yellow-skinned wife knelt at his feet; Can Signorio, the new tyrant, frozen rigid, armed in mail, knelt at his head. The mercenaries held the nave, the bodyguard the door, archers lounged in the Piazza. All this parade of force was mere superfluity; Verona had no desire to revolt. The Veronese were for rending their hearts and not their rulers that day.
There is every variety of tomb, from the plain, heavy sarcophagus of Mastino I. to the magnificent four-storied monument of Can Signorio surmounted by his equestrian statue, a rising succession of small columns, arches, niches, statuettes, canopies, pinnacles, embowered in leafage, bud and flower, as if the splendid art of the fourteenth century were blossoming before one's eyes.
Bonino da Campione, the Milanese, who may have had a hand in the Arca di S. Agostino, carved the tomb of Can Signorio. That of Mastino II. was executed by another Milanese, Perino. See Trucchi, Poesie Italiane inedite, vol. ii. See the Illustrated work, Il Tabernacolo della Madonna d'Or sammichele, Firenze, 1851.
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