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Updated: May 18, 2025
This omits the statues of the Scaligers: but no mediaeval work aimed at equal animation. The antique bronze horses at Venice and the statue of Marcus Aurelius must have been in Donatello's mind. The sculptor of a beautiful tomb erected for the Countess of Montorio and her infant daughter in the church of S. Bernardino at Aquila was probably Andrea dell' Aquila, a pupil of Donatello.
It is his body that is laid in the plain sarcophagus over the door of the little church of St. Mary of the Scaligers, only adorned with the figure of a knight on horseback, of nearly the natural size, above it.
The palaces of the Scaligeri, now assigned to the drowsy courts of law, have been altered so often that an inalienable dignity of front is all that marks them for having once been princely habitations. We must look a few steps farther for the pomp of the Scaligers, where a small graveyard before the church of Santa Maria l'Antica contains the tombs of the dynasty.
Down this very highroad tramped the legions of Tiberius on their way to give battle to the Illyrians and Pannonians. Here were waged the savage conflicts of the Guelphs, the Ghibellines, and the Scaligers.
This does not, however, interfere with the truth that sculpture, like all the arts, assumed a somewhat different character in each Italian city. The Venetian stone-carvers leaned from the first to a richer and more passionate style than the Florentine, reproducing the types of Cima's and Bellini's paintings. Whole families, like the Bregni classes, like the Lombardi schools, like that of Alessandro Leopardi, worked together on the monumental sculpture of S. Zanipolo. In the tombs of the Doges the old Pisan motive of the curtains (first used by Arnolfo di Cambio at Orvieto, and afterwards with grand effect by Giovanni Pisano at Perugia) is expanded into a sumptuous tent-canopy. Pages and genii and mailed heroes take the place of angels, and the marine details of Roman reliefs are copied in the subordinate decoration. At Verona the mediaeval tombs of the Scaligers, with their vast chest-like sarcophagi and mounted warriors, exhibit features markedly different from the monuments of Tuscany; while the mixture of fresco with sculpture, in monuments like that of the Cavalli in S. Anastasia, and in many altar-pieces, is at variance with Florentine usage. On the terra-cotta mouldings, so frequent in Lombard cities, I have already had occasion to touch briefly. They almost invariably display a feeling for beauty more sensuous, with less of scientific purpose in their naturalism, than is common in the Tuscan style. Guido Mazzoni of Modena, called Il Modanino, may be mentioned as the sculptor who freed terra-cotta from its dependence upon architecture, and who modelled groups of overpowering dramatic realism. His "Piet
Dutch Literature to the Sixteenth Century: Maerlant; Melis Stoke; De Weert; the Chambers of Rhetoric; the Flemish Chroniclers; the Rise of the Dutch Republic. 3. The Latin Writers: Erasmus; Grotius; Arminius; Lipsius; the Scaligers, and others; Salmasius; Spinoza; Boerhaave; Johannes Secundus. 4. Dutch Writers of the Sixteenth Century: Anna Byns; Coornhert; Marnix de St.
The Renaissance, the late Middle Ages, felt better than this: on the extreme pinnacle, high on the roof, they might indeed place against the russet brick or the blue sky, amid the hum of life and the movement of the air, the living man, like the Scaligers, the mailed knight on his charger, lance in rest: but in the church below, under the funereal pall, they could place only the body such as it may have lain on the bier.
Barrymore, and he at me, just as he had driven into the piazza where Dante's house looks down over the tombs of the Scaligers. Then he smiled, and said, "Yes, I know. I always feel like that, too, when I come here but even more in Venice." "How am I feeling?" I asked, smiling with him.
That Aristides, that Genius of Death, that fragment of the unrivalled Psyche, are worth a thousand Scaligers! "Do you ever look at the Latin translation when you read Aeschylus?" said a schoolboy once to Cleveland. "That is my Latin translation," said Cleveland, pointing to the Laocoon.
The Italians feared nothing from them; they would call down the King of France or the Emperor of Germany without a moment's hesitation, because they knew that the king could not bring France, nor the emperor bring Germany, but only a few miserable, hungry retainers with him; but Florence would watch the growth of the petty State of the Scaligers, and Venice look with terror at the Duke of Milan, because they knew that there there was concentrated life, and an organization which could be wielded as' perfectly as a sword by the head of the State.
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