Mr Vernon says:[62] “During his sojourn at Verona Dante would often have witnessed the foot race that took place annually on the first Sunday in Lent for the Pallio, or green mantle, in which race Boccaccio says the runners were naked.... Scartazzini says this popular spectacle was instituted to celebrate the victory that was won on the 29th September 1207, by Azzo d’Este, Podestà of Verona, over the adherents of the Conte di San Bonifazio and the Conte Montecchi. The statutes of Verona state that four prizes were to be exhibited for competition, the first of which was to be run for by virtuous women, even if only one could be found.”

Soon after the Palazzo Gazzalo, which boasted a fine garden now only kept as a nursery garden, is the old church of the Cappucines, with traces here and there of Roman masonry. It is now given up to the manufacture of torpedo boats. A few paces further on (going always towards the town) we come to a large enclosure where a horse fair is held twice a year, and where a brisk trade is done in that line, horses to the number of about a thousand coming from Italy, Hungary and other countries to be bought and sold. Through this modern commercial part of Verona we pass to the garden of the Orfanotrofio, where the made-up tomb of Romeo and Juliet has been placed. The tomb is of red Verona marble, but before it was put to this use it served as a washing-trough. A feeling of pity and disdain cannot but be felt over the fraud here practised to arouse false sentimentality. The story of the two lovers, as is well known, had no foundation, and was taken by Shakespeare from one of the tales of Luigi di Porto, a novelist of the sixteenth century. The enmity between the two houses of Montagu and Capulet was indeed a fact historically true, and a fact also whose effect made itself felt in the civil wars and dissensions that had so often disturbed the internal life of Verona. This enmity has also been noticed by Dante, who speaks of it in the Purg. vi. 107. But the very silence maintained by the great Tuscan over the story of the lovers is proof enough that so touching a romance had no foundation. Had there been one we may be sure that the master-hand at whose touch Paolo and Francesca have been endowed with immortal fame, and who in six short lines has sketched for us the tragedy of La Pia, would not have left “unwept, unhonoured and unsung” the memory of the lovers of Verona. Romeo and Juliet lived only in the imagination of our great dramatist, who has bestowed on them a fame and immortality which they could never have gained for themselves, and which has endeared them to every heart.

The bridge called “Rofiolo” leads into the wide Via Pallone, and close beside it is to be seen a tablet with some heads carved on it in high relief. The story of this tablet and of the strange name of “Rofiolo” has been explained as follows: some “guilty sons” (rei figli, hence rofiolo) murdered their parents and threw them into the canal which flows hard by. The name of these “guilty sons” has consequently been affixed to the spot where their iniquity was perpetrated, and their effigies have been placed near at hand. Such at least is the tradition, into whose absolute veracity it were perhaps well not to inquire too closely.

The Via Pallone leads into the Piazza Vittorio Emanuele, or Piazza Brà (from Preatum, a meadow) where on one side is an equestrian statue of Victor Emanuel by Borghi, placed there in 1883. The Arena on the east side of the Square forms naturally enough the chief object of interest, but there are also some buildings and palaces around for which a moment’s notice may be claimed. The double archway which leads out of the Piazza into the Corso Vittorio Emanuele dates from the epoch of the Scaligers, or more probably from that of the Visconti, as does also the pentagonal tower beside it. Close to this again is the Palazzo della Gran Guardia Vecchia, a huge massive building ascribed to one Curtoni (1609), a pupil of San Micheli. It was built for public meetings, concerts, lectures and the like, and serves for such purposes still. On the other side of the archway, or as it is called, the Portone della Brà, is the Museo Lapidario, which stands inside the courtyard of the Philharmonic Theatre. It was founded and organised by the historian Scipione Maffei, and contains a large amount of precious lapidary relics among which are to be discovered runic, Latin, Greek, Arabic, Egyptian, Persian and Hebrew inscriptions. The most fashionable cafés are also to be found in this Piazza, and in hot weather those inhabitants of Verona who cannot escape for change of air and scene to the country wend their way thither to court the fresh breeze of the wide open square at even-time.

CHAPTER XII

San Zeno

THE road to S. Zeno leads straight past the Castel Vecchio; and away from the noise and bustle of the town we approach one of the finest examples of a Romanesque church to be found in the whole of Northern Italy. A quiet dignity and simplicity may be said to be the characteristics of this glorious basilica both within and without; while the blending of pagan antiquity and Christian feeling has brought about a harmony in expression and construction that is very impressive. Tradition has it that King Pepin, Charlemagne’s son, was the founder, but no document exists to prove this, though the belief that it was begun about the year 900, and that its erection was gone on with for two succeeding centuries, has much to support it. It is certain that the Emperor Otho I. of Germany on his way to Rome through Verona sojourned for a while at the monastery of S. Zeno, and left a large sum of money with the Bishop Rathold towards the fund for the completion of the church. There is not a corner of S. Zeno that is not of interest, and this begins with the west front, with the portals, and with the doors, each one claiming in turn its meed of praise and admiration. The church has been enlarged and restored, but nevertheless it retains its noble proportions intact, and modern works have done little to injure the plan and construction of the building. The façade is embellished with bas-reliefs, carved in the yellow stone of the country, and taken from legendary and sacred subjects. In the right hand corner the legend of King Theodoric is represented, for it is supposed that he is the warrior here at the chase, pursuing the stag which cannot be caught, and in whose pursuit the hunter rides on till he reaches the gates of hell. The sculptures are rough and uncouth, but full of life and movement, and were executed in the year 1139 by Wiligelmus and Nicolaus, this latter being the same artist whose work has already been noticed at the Duomo. The round window above the portal stands for the wheel of fortune, with figures in different attitudes to express the moods of the changeable goddess. On the outer circle is engraved in leonine lines:—

which may be loosely rendered—

On the inner circle is written:—

The portal below is borne on two columns resting on lions of red marble placed on each side of the door like couchant sentinels, and above is seen the divine hand held up in blessing with the words “Dextra Dei gentes benedicit sacra petentes” (God’s right hand blesses those who sacred sites do haunt). On the portal are also scenes from the Bible and from the life of S. Zeno, the one in the centre being supposed to

S. ZENO MAGGIORE. CHOIR SCREEN AND ENTRANCE TO THE CRYPT
S. ZENO MAGGIORE. CHOIR SCREEN AND ENTRANCE TO THE CRYPT

represent the deputation sent to him by the Emperor Gallienus. The doors are covered with panels of carved bronze reliefs (perhaps the oldest specimens of that form of metal decoration to be found in the country), and are said to belong to the ninth century. The scenes they represent are forty-eight in number, and are taken from the Old and New Testament. They are quaint and archaic to a degree, but the work is that of a bold and cunning craftsman, and the grotesque yet forcible attitudes of some of the personages (as, for example, Salome dancing before Herod) show the skill and humour that worked and lived in these men of old, hundreds of years ago. Within the doors a flight of steps leads down into the church, and one’s impulse on entering is to stand at the head of those steps and gaze in silent admiration and reverence at the scene before one. It is so grand, so calm, so severe, so solid, and yet so graceful in the perfect proportion of lines, arches, columns, shafts. The nave extends between two side aisles in a line of faultless symmetry till it reaches in the centre to a double flight of stairs, the one flight leading down to the crypt, the upper and smaller one leading to the high altar and choir. To the right on entering is the baptismal font, formed from a single piece of marble, and designed by Brioletto, who was also the author of the window known as the Wheel of Fortune. On the other side is the famous “Coppa,” or cup of S. Zeno, with the following legend attached to it: S. Zeno had freed a daughter of the Emperor Gallienus from an evil spirit which possessed her. The grateful father thereupon wished to present the saint with a crown of gold, but S. Zeno refused this and asked instead for a porphyry vase, which the demon, exorcised from the maiden, was ordered to carry from Rome to Verona. Crossing the Tiber the demon dropped the pedestal and arrived at Verona with the vase only. “Hie back,” said S. Zeno, when the demon appeared with only half his burden, “and bring hither the other part as well.” The order was obeyed, and that, too, in one moment of time, and only the crack in the vase bears witness to the small mishap which befel the precious cup in its transit from Rome to the place where it now stands.

The columns in the nave are of different sizes and styles, and the capitals, most of them of pure Corinthian, are nearly all varied. The richness of originality and design shows to great advantage amidst the simplicity which exists on every side, and the freedom from an abundance of side-altars and—on the whole—from tawdriness of ornaments and paper flowers adds to the effect and dignity of the scene in a most grateful manner. A fine side-altar is to be noticed on the right going up the church, with four columns of reddish-brown marble all carved out of a single block, and resting on a lion and an ox, and dating from the fourteenth century. The walls are all of brick and of that picturesque stone known as “tufo” which we have had occasion to remark in nearly all the principal buildings in Verona. This “tufo” must be cut from the quarries in summer, when it hardens into such solidarity as to make it well-nigh everlasting. Should it be cut in winter its porous qualities remain and assert themselves, and it perishes and crumbles away in a short while. There can be little doubt that at one time the walls were all covered with frescoes, and even now many a one remains to testify to the piety and art that marked the twelfth, thirteenth and fourteenth centuries. Layard points this out in his valuable work so often referred to in these pages. He says:[63] “Like other Italian cities, Verona possessed, from a

CHURCH OF S. ZENO, VERONA
CHURCH OF S. ZENO, VERONA

very early period, and before the revival of the arts in the thirteenth century, artists who decorated churches and public buildings with rude wall-paintings. Such early works are still to be seen in the ancient church of S. Zeno. They have no particular character or style to distinguish them from other productions of a similar kind.” The balustrade that divides the nave from the choir and that stands above the arches over the crypt has on it a fine row of figures of our Lord and the twelve Apostles, a work that probably belongs to the end of the thirteenth century, or to even earlier days.

The archways leading into the crypt are formed of perfect semicircles (of Roman as opposed to Byzantine shape) and contribute largely to the effect by which this low-lying and generally concealed portion of the church is brought into prominence. The pillars and columns in the crypt support a vaulted roof, through which some of them pierce into the choir above and carry on here the work begun on the lower floor. Some of these columns are very graceful, and would almost seem like feathers rising from the blocks of solid stone and masonry which are placed at limited intervals about the crypt. The capitals of these columns differ one from another; here and there they are quaint, not to say grotesque; others again are plain and classical, while one and all are in keeping with their surroundings, and bear witness to the love and skill that planned and placed them there. There are frescoes too upon the walls and about the columns, some very Byzantine in feeling and execution, some approaching again to the Giottesque period. Several saints and bishops are buried here—a solemn burial-place, and fitting for those who were the first to toil in the vineyard of souls at Verona, and whose earthly remains now rest from their labours in the beautiful crypt of S. Zeno. The sense of religion and devotion is enhanced by hanging lamps which cast an uncertain flickering light on the scene, and intensify the effect of shadow and shade that is thrown by the “shafts of shapely stone” clustering on every side. In the middle of the crypt stands the tomb of S. Zeno. The body lies in a bronze coffin, a fine piece of modern work by the brothers Spazzi (1889), guarded by seated figures of Faith, Hope, Charity and Religion. The whole is enclosed in the same kind of beautiful iron work such as has already been noticed round the tombs of the Scaligers, which was erected by order of Mastino II. della Scala.

Coming up from the crypt to the choir, the great picture by Andrea Mantegna hanging behind the high altar claims a careful study. The painting is on wood, in a lovely Renaissance frame which harmonises well with the decorative architectural detail in the picture. It was originally in six compartments, three above and three below, but was carried off to Paris by Napoleon, whence it was returned without the predella, which remained in the Salon carré of the Louvre (the present one at S. Zeno is a copy). The Blessed Virgin sits enthroned in the centre, holding the Child in the tender reverential manner to be found in the Bellini school, and supported by angels and cherubs. A lovely festoon of fruit and foliage is carried through the upper three compartments, caught up with red tassels, while the accessories of carpet, drapery, and hangings are extremely rich and glowing. St Peter, St Roch, St Paul, St John, and St Augustine are on the left of the picture; on the right are St John the Baptist, St Gregory, St Lawrence, and St Benedict; all the figures possessed of dignity and individuality, and expressing by their action or their attitude the characteristic peculiar to each one of them. “The Virgin is in a classic portico,” says Mr Selwyn Brinton, “adorned with bas-reliefs, with festoons of fruit and coral. Eight robed child-angels of wonderful beauty play lutes, and sing beneath and beside her throne. She looks up, holding the beautiful Christ-child poised upright on her left hand; her expression and attitude seem full of quiet dignity. A masterpiece of his (Mantegna’s) earlier style.”[64]

The picture unfortunately is hung so high it is not easy to see, but a good view can be gained by clambering up the steps at the back of the altar where one is more on a level with it.

In the choir are some old carved walnut seats of the fourteenth century, and in an apse is a fresco of S. Zeno with his right hand raised in blessing. He is dressed in full episcopal robes, with a gorgeous dress of red, edged with gold, and lined with green, and with medallions of a particularly pretty shape studded about it. On the right hand of the choir is a quaint Giottesque fresco of St George, with his spear through the dragon’s head, while the Princess stands by with a look which seems to imply that she would fain escape from knight and dragon alike did she but know how. St George’s mantle flies in the breeze and reveals a beautiful lining of ermine; on his shield the Cross stands boldly out on a field of red, in harmonious keeping with the ermine-lined red cloak. The steed stands quietly by, and shows no apparent concern at the way in which his hind legs are encircled with coils of the dragon’s body. Another fresco close by represents the raising of Lazarus, where most of the spectators hold their noses, remembering evidently Martha’s caution as to the four days that her brother had spent beneath the sod! This fresco which is Byzantine in character is supposed to date from the eleventh century. Of the same, or maybe even an earlier date is a statue of S. Zeno, where his face is painted black (to remind us of his Eastern origin) and having a fish attached to his pastoral rod, a token of his profession as a fisher of souls.

Opening out from the church on the left hand side are the cloisters, of striking and original beauty. They were built in the twelfth century, and consist of twisted columns of red Verona marble, cut from a single block, and ingeniously held above and below by

CLOISTERS, S. ZENO MAGGIORE
CLOISTERS, S. ZENO MAGGIORE

short pieces of marble. These were not added for the purpose but cut, together with the columns, out of the one solid bit of marble which served to form the whole. On the further side from the church the arches open out into a square form of arcading, the pillars here being larger than those of the actual cloisters. They were supposed to have stood round a sort of lavatory used probably by the monks either for themselves or for the vessels they required for their service.

Some fine tombs are placed here in the cloisters, resting on brackets on the wall, and belonging to the great families of Verona. There is a quaint saying as to some of these families that lie buried here, and that declares that they were: “Bevilacqua, che mai la bevero; Conti Verità, che mai la dissero; Conti Giusti che mai lo furono.” (Bevilacqua—or Drink-water—who never drank it; Counts Verită—or Truth—who never said it; Counts Giusti—or Just—who never were it.) This saying certainly speaks better for the wit of the Veronese (which be it observed is known to be pithy and cutting) than for the manners of the gentry.

Here too is the tomb of Giuseppe, illegitimate son of Alberto della Scala, whom his father made Abbot of S. Zeno, and of whose appointment to that post notice has already been made.[65] Lana in his Commentary on the Divina Commedia speaking of the allusion made by Dante in the Purgatorio[66] to this transaction says: “Messer Alberto della Scala, who was aged had committed a great sin, in that he had made his son Abbot of S. Zeno, who was unworthy of such an episcopate; firstly, because he was infirm in the body; secondly, that he was defective in mind as in body; thirdly, that he was a natural son; so that he had these three great defects.”[67]

Before leaving the church, and its pleasant well-informed custodian, one Lodovico Marchiori, whose family have carried on that office for one hundred and eighty-seven years, some attention must be given to the campanile of S. Zeno, which is one of the finest in Verona, if not in Italy. It was begun in 1045, and finished in 1178, and is a grand square tower surmounted with a spire which has four corner turrets set on a double row of arches. A quaint Latin inscription on the north side of the belfry, and dating from the beginning of the fifteenth century tells how there rests here one Henry of Tearen,[68] whose only claim to celebrity seems to have been that he was the husband of Gertrude! Who Gertrude was does not transpire, but the evidence that even in those days a man could be no more than the husband of his wife would seem to imply that the “new woman” was not so much a creation of these days as a continuation of a state of things recognised centuries ago and worthy to be recorded for all time.

To the left side of the façade of S. Zeno rises a square brick tower with forked battlements. This is all that remains of the actual monastery that belonged to the church, and within whose walls kings and emperors had found hospitality when in days of old they sojourned for a while in the fair city of Verona la Degna.

CHAPTER XIII

Verona and its Crown of Castles

THERE is another side of Verona to be studied apart from that connected with her glorious churches and other buildings. To wander through the squares and streets, studying the battlements and towers, and noting the outdoor existence, so to speak, of the town is necessary to a thorough understanding and enjoyment of the place. In this way we shall realise the balconies which form so beautiful and special a feature in the picturesque loveliness of the town, and of which Ruskin speaks as follows: “The chief city of Italy, as regards the strict effect of the balcony, is Verona; and if we were once to lose ourselves among the sweet shadows of its lonely streets, where the falling branches of the flowers stream like fountains through the pierced traceries of the marble, there is no saying whether we might be able to return to our immediate work.”[69]

Nor must the doorways be overlooked, those grand old arches of red Verona marble—generally of Renaissance style—denoting the entrance to many a noble palace, and often, alas! being the only trace now left of some once princely residence. The acquaintance thus gained of the exterior of the town will lead us on maybe to more outlying places, and tempt us to make expeditions to some of the old castles which stand around Verona. Of these castles mention will only be made of those which still boast of standing walls, or of ruins which are sufficiently imposing to be worth a visit, and whose beauty or historic merit will reward the trouble taken to reach them. Four of such castles, Montorio, Illasi, Tregnano, Soave, stand on the left bank of the Adige; on the right bank the castles—five in number—are Villafranca, Valeggio, Nogarole, Sanguinetto, Sirmione.

There is little to be said about some of these castles from an historic point of view. Their origin is lost in the remote past; and in cases such as those of Montorio and Tregnano it can only be said that they formed strong fortresses in the line of defence above Verona, and were additional gems in the crown poised above the city, and which contributed at once to her beauty and security. Montorio would certainly seem to have dated from the time of the Romans, were it only for the amount of coins and inscriptions belonging to that period which have been found there. Tregnano, lying in the valley of Illasi, is of an older date, according to Cipolla, than Soave, though of smaller proportions. The chief point of interest yet remaining is a grand old pentagonal tower. From this a wall branches out which surrounds the castle and which has small towers at intervals, all of a most simple form. More than one fine castle stands in this same valley of Illasi, but the best known is the one which takes its name from the valley. It was presented to the Scaligers by Pope Nicholas III., and, with the other possessions of the della Scalas, shared the same fate that made the lords of Milan, and of Padua, and the Venetian Republic, owners in turn of their goods and wealth. In the sixteenth century Illasi passed into the hands of the Veronese patricians, the Counts Pompei; and their villas and houses form one of the

RUINS OF THE VILLA OF CATULLO
RUINS OF THE VILLA OF CATULLO

chief features of the site, situated as they are at the foot of the hill on which is perched the castle, and from where Ruskin wrote the beautiful description of the view obtained from here, and which is given in chapter x., p. 229.

In 1885 Count Antonio Pompei, the last direct descendant of this great family, died. These Counts of Illasi, who had received their title from the Venetian Republic early in the sixteenth century (with the obligation of offering every year a wax taper of the value of a ducat to the Church of St Mark in Venice), received many and lasting honours from other states and sovereigns. The Emperor Charles V. conferred the rights of citizens of Milan on them; the same privilege with regard to the town of Mantua was granted by Duke Ferdinand Charles; and Henry IV. allowed them to quarter the lilies of France on their shield. This last Count of Illasi (whose family is now merged in that of the Counts Perez) was a worthy descendant of a long line of jurisconsults, lawyers, writers, poets, ambassadors, generals and knights. He was himself an archæologist, and a writer too on such matters. He had been present in his youth at the demolition of an old wall of the Castle of Illasi, and on that occasion came across a sad and undoubted evidence of a tragedy that had occurred in his family many hundreds of years previously. The skeleton of a woman was found in this wall, heavily laden with chains, and the story goes that it was certainly that of the Countess Ginevra, the wife of Count Girolamo Pompei, whose infidelity to her husband had been avenged in this awful way. No hope of escape for the wife whom he knew false! No mercy for her who had proved unfaithful! Only the chains weighing heavily on her young and lovely limbs; the wall slowly closing in upon her; the lingering death of agony and starvation; the remorse when alone she faced her doom;—can a fate more terrible be imagined? or a vengeance more complete have been exacted?

The last castle on the left bank of the Adige, that of Soave, is without doubt the most interesting of all these strongholds, and should certainly not be left unvisited. The tramway which starts just outside the Porta Vescovo takes one there in a good hour. The journey lies through a flat country, fertile with corn, maize, and vines, and leading up to the hills which rise “on and always on” till they are lost in the distant horizon. A short walk under an avenue of “Paulownia Imperialis” leads to the old town, which is girt with a circuit of brick battlemented walls, perfect both as to condition and construction. A grand double archway, on which is carved the arms of the Scaligers, opens into the town, while at its further end is a stone pathway which leads up a steep incline to the castle perched on the top. The position is splendid, overlooking miles of plain, and bounded on the northern side by the heights of Monte Lessini. The building takes us back in fancy to some of our old Norman fortresses, for here too is the moat, the drawbridge, the portcullis, and all that goes to form a feudal stronghold. The moat though is now dried up and overgrown with vegetation, and the walls are of brick as opposed to stone, albeit of such beautiful masonry as to arouse no sense of disparaging comparison. Crossing the drawbridge under a grand archway with the portcullis set in the brickwork, we gain the first courtyard, which opens again through another doorway into a second and inner courtyard. The banqueting hall probably stood here of old, or it may be the kitchen, to judge from the outline of a huge chimney which can yet be traced clearly and which evidently once towered high up into the air. From here, stooping low under a small archway, we come into an enclosed square, not large as to circumference, but shut in to the extent of some sixty feet in height. Prisoners or criminals were thrown down into this hold, and those who did not die of the shock or fall (and they would be the exceptions) were left to linger till death released them from their sufferings. A fine old well stands in the last and inner courtyard, its edges worn away inside with the marks of the ropes which for centuries have performed their office of drawing water—and very good water too—from the old well. On the ground floor of this portion of the castle is a vaulted chamber said to have been the guard-room, and from there a narrow staircase leads up to the only part of the building that would be habitable did its owner choose to live in it. The rooms, consisting of a bedroom, sitting-room and dining-room, are kept though more for show than for use; and from the dining-room one passes through a small anteroom up a narrow stone staircase on to the battlements. An excellent view is had from here of the castle itself, its turrets, inner courts, grass slopes, and steep parapets, to the little town sheltering in true feudal fashion at the foot of the castle. The city walls are also clearly discernible from this height, forming as they do an uninterrupted square of turreted walls, each turret or tower equidistant from its neighbour, and presenting as perfect an example of a mediæval stronghold as can well be seen anywhere. The good woman who acts as “custode” has a ready story of how the Scaligers who built and owned this fortress existed long before the birth of Christ, and had indeed inhabited it in those far-off ages. The real tale is that the name of Soave came from a colony of Swabians (Svevi or Suabi) who came into Italy, with Otho I. of Germany, and settled there. It is also very probable that the Romans had once built on those heights and laid the foundations of the citadel which the Scaligers perfected in after times. Such an hypothesis gains ground from the number of Roman coins, pins, fibulæ, inscriptions, stones, and so forth that have been found in and around Soave, and that are all collected and kept in the old castle. Its present state of preservation is owing to the Senator Camuzzoni, whose one thought and care has been to restore the castle on its original lines and guard it intact from injury or decay.

Soave is also celebrated for an excellent white wine which hails from there; by no means feeble as to character, and as famous in its way as its red neighbour from the Val Policella. Another white wine, also very good, is made at Soave, called Vino Santo. This however is sweet, and commends itself more as a liqueur than as a beverage. The little town too is full of interest, and many an hour might be whiled away in this mediæval hamlet did the castles lying on the right bank of the Adige not claim a passing notice in their turn.

The first of these in geographical order is the castle of Villafranca Veronese, so called to distinguish it from the other seven and twenty Villafrancas which are said to lie scattered over the face of the globe. It lies between Verona and Mantua, and owes its fame in modern days to the peace signed here, 12th July 1859, between the Emperors of Austria and France, when Lombardy was ceded to Italy, and a very forward step taken in the events which culminated in Italian unity and independence. The cause that led originally to the erection of the fortress was as follows:—The Veronese had built a castle at Ostiglia on the Po, a castle that was of all-important moment to them from a military and commercial point of view. The frequent

CASTLE OF SIRMIONE
CASTLE OF SIRMIONE

inundations of the river had damaged the fort, and the Veronese saw fit to repair it. The inhabitants of Mantua were annoyed that this frontier town should be put into a condition to resist their incursions, and they determined to molest the works, or if possible to prevent them altogether. This resolution annoyed the Veronese not a little. The Mantuans however persisted, and finally both parties resorted to arms. The Veronese were victors in the fight; but the Mantuans only prepared for further action, and resolved on being revenged. To guard against any surprises the Veronese set to work to erect a fort in an advanced and advantageous spot, and chose Villafranca for the purpose. The works were at once begun; in 1202 the castle was finished, and a good body of soldiers were placed in it to guard against any attack or invasion from the south. The walls and bastions are of remarkable solidity and thickness, and the fortress of Villafranca may certainly rank as one of the strongest and most imposing to be seen in Italy. The sole object of its erection was for defence, and it has fulfilled its purpose absolutely. Scenes of violence, of siege, and of fire have occurred within its walls, but no tales of love or romance, which for the most part lighten the story of many a gloomy massive pile, are forthcoming from the sombre stronghold of Villafranca. It was closely besieged in 1233 by Ezzelino da Romano, when several Guelph leaders from Verona and the neighbourhood defended it. The people of Mantua at that epoch supported the Guelph faction and took the part of Riccardo da Sambonifacio against the Ghibellines. To strengthen themselves against these incursions of the Mantuans, the people of Verona aided their Podestă Enrico d’Egna to add to the fortress of Villafranca, and a massive tower (such as is to be seen in well-nigh every mediæval fortress of importance) was built, together with a moat. The love of building possessed to such a remarkable degree by the Scaligers was brought into play by them at Villafranca; and Mastino II. wishing to protect himself still further against Mantua, began the erection of the great wall known as the “Serraglio,” and leading from Villafranca towards the enemy’s territory. The outbreak of a pestilence in Verona in 1349 (the very year in which the “Serraglio” was begun) stopped the work, which was finished under Cangrande II., the son and successor of Mastino II. This stupendous work, consisting of towers at stated intervals with ditches and moats behind which to shelter the peasants with their flocks and herds, brought Villafranca almost into touch with Valeggio (another castle soon to be mentioned) and acted as a mighty rampart between the territory belonging to Verona, and that owned by the lords of Mantua.

In 1404 the inhabitants of Mantua took refuge within the fortress of Villafranca to protect themselves against the forces of Galeazzo Gonzaga, who was determined to become lord of Mantua, and whose rule met with bitter opposition. The men of Mantua set fire to their houses and fled with their wives and children and chattels to the rock of Villafranca. Gonzaga irritated at this opposition resolved to quell it and assaulted the fort with violence. In vain he tried every artifice that strength and ingenuity could suggest. His forces were driven back at every point. He lost heavily, and retired at length after three days of uninterrupted attack to Vigasio, resolved to return with renewed forces and take vengeance on the bold defenders of their homes and hearths. Other sieges took place at Villafranca often and again in the course of the fifteenth century, but neither then nor in later times were its strongholds or towers destroyed by foe or fire, and it stands to this day a marvel of strength and resistance, its sternness softened by the nursery gardens kept within its courtyards where the grace and beauty of vegetable life contrast in soft and gentle harmony with the solidity and masonic craft of bygone ages.

At a distance of five miles from Villafranca is the castle of Valeggio on the banks of the Mincio. It was either built or rebuilt by Cangrande II. della Scala, and may very probably have been set up by that prince as the complement to the great wall of the “Serraglio” which was finished during his reign. It boasts a number of subterranean passages, vaults, and dungeons, and together with Borghetto, which stands on the opposite height, occupies an important military position, commanding the passage of the Mincio. The view from the castle terrace is not only grand, but full of interest and association for every lover of Italian history and of Italian independence. On one side is to be seen a stately old square tower, which stands above the memorable field of Solferino. On another side is the Tower of San Martino, and again to the West rises high in the distance the column that marks where the bones of the dead were laid to rest after the “day of pride and sorrow” of Custozza. Valeggio is celebrated too for the marvellous stone bridge constructed by Gian Galeazzo Visconti, duke of Milan at the close of the fourteenth century to strengthen himself against Francesco Gonzaga, lord of Mantua. To relate all the intrigues and quarrels which led to the erection of this bridge over the Mincio would be out of place here; suffice it to say that it was laid on a Roman substructure, and had high gateways with towers at each end, while the arches of the bridge spanned the river. Only one arch remains now, but the ruin shows what a colossal work it was, worthy even in its decay of the titles of “famous,” “gigantic,” “most noble,” and “magnificent” that have been lavished on it by different writers. The ulterior purpose of the bridge is yet a matter of discussion, and historians are still at variance as to whether Gian Galeazzo built the bridge with the intent to alter the course of the river, or to raise for himself a causeway into the Veronese territory.

History and tradition have alike little to say about Nogarole, beyond the fact that it was built by Mastino II. della Scala against the Mantuans. The old castle, situated at no great distance from Villafranca, no doubt derived its name at some time or other from the family of Nogarola, a family which figured so often and so honourably in the story of Verona, and of whom the last remaining member died only a few years ago.

Sanguinetto is one of the few castles under discussion that has no associations with the great house of the Scaligers beyond the fact that Bartolomeo and Antonio della Scala gave over the castle in 1376 to their general Jacopo del Verme. It has, in common with all the villages and towns in the province of Verona, many and evident traces of Roman life and habits. The castle was the scene of much fighting in the Middle Ages, and that it was used also as prison is clearly proved by the discovery made there some fifty years ago of a skeleton in armour which was found enclosed in the walls. The grand old castle was sadly damaged in 1800, and what has escaped the ravages of time and the destroying hand of man is now preserved with care by the municipality, and used for public offices.

It only remains now to speak of Sirmione, the most interesting perhaps after Soave, of the sites around Verona, and which the traveller should on no account omit to visit. The Peninsula of Sirmione on the Lake of Garda was famed in Roman times, and is a spot whose praises have been sung by bards in all ages and tongues. Covered with olive and bay trees it would seem to invite poets to inhabit its groves, and to chant of the soft balmy air that floats round its shores. Hills and gentle slopes alternate with the level swards on which villages and villas are dotted at intervals, bringing life and movement to the scene and imparting a spirit of animation to this otherwise secluded spot. In the days of the Romans it was prosperous and active. They surrounded it with walls and entered it on their maps as a strategical point, possessing besides a secure camp and a strong station. There were also many luxurious villas here inhabited by nobles of wealth and position, among them being the one owned by Catullus’s father, a man whose fortune allowed of his entertaining Julius Cæsar, and whose habitation at the northern extremity of the peninsula must have been splendid judging from the ruins which are pointed out to this day as those of the Grotto of Catullus.

One of the chief objects that catches the eye on alighting at the southern end is the castle of the Scaligers. Their heraldic badge of the ladder (scala) is on the door, and the manifestation of their might and power is alike visible in the great wall which surrounds the castle, and which fortifies it on the side sloping down to the lake as well as on the land side. A moat runs below this outer wall, and in front of the chief entrance are evidences of a drawbridge which must once have stood there. The entrance has two approaches, one by which carriages and wheeled vehicles could pass, the other for foot passengers. The actual plan of the castle is a quadrangle, but there are inner walls and courtyards of different heights and elevations, and towers at stated distances break up the effect of evenness presented to the eye, and result in a picturesque and formidable-looking citadel. The castle had three entrances, two by land, and one on to the lake, both those by land being approached by drawbridges. The interior of the castle was formed of two divisions, and the masonry of these courts is as perfect as it can be, and fit to be compared with the finest and best Roman work.

These walls are now in ruin; decay is over a building which would seem to have once defied even Time itself; the owl and the bat haunt the chambers that rang with mirth and joyaunce when “high dames and mighty earls” held court there, and when the chase and the dance followed each other in quick succession, and all seemed made for merriment and happiness.

There was prosperity for the inhabitants of the land in the Scaligers’ time, but there was sorrow and mourning too, for the lords of Verona were not always mild rulers, and any opposition to their ideas or wishes was apt to meet with a severity of the harshest kind. Such was the case when the sect known as the Patarins (Patarini, or Catari) set up their religious tenets against those of their liege lords. These tenets (which the historians of Sirmione confess frankly have never met with an exponent who has clearly revealed them) appear to have resembled in some way the doctrines of the Manichæans. They were persecuted, outlawed, and burnt by popes, emperors, and kings. Their courage, or (as their enemies called it) their audacity, made them assert themselves again and again, and, when possible, turn the arm of persecution on their persecutors. They had however need of some spot where they could be safe from their foes, and Sirmione seemed to them a haven where they could retire and pursue their worship unmolested. They reckoned without their host. Mastino I. della Scala, then lord of Verona, and consequently of Sirmione as well, was made aware of the heresy which infected his lands, and which was spreading rapidly round his castle. A commission was formed to inquire into the evil, and to extirpate it if possible. Remonstrance however failed to do much, though a few acknowledged the error of their ways, and were received afresh into the true fold with many injunctions and admonitions, all, we are told, of a most benign and fatherly nature. We can hardly say as much for the punishment meted out to the obdurate. They were condemned to be burnt to death, and no less than a hundred (some say 150, and some 75) men and women were brought to Verona and there suffered at the stake in the Arena (1276). Mastino’s zeal met with a handsome recompense, for the Pope, Nicholas III., bestowed on him the castle of Illasi with its feudal rights and privileges.

It is not stated definitely if Dante visited Sirmione, but his knowledge of the country around, of the Benaco, and so forth, may be taken as evidence that he had been there, and spoke of these places from his personal knowledge of them.

Sirmione followed the fortunes of Verona. After the fall of the Scaligers (all of whom were liberal and generous patrons of the place), it became subject to the Visconti, then to the Carraresi, and finally it came under the rule of the Venetian Republic.

Its condition for many years was that of extreme poverty and misery. A few fishermen carried on a hard and unprofitable trade; no travellers halted at a spot that boasted only bad accommodation; and the outlook for a while was deplorable. All that however is now changed. The discovery of some hot sulphur springs has brought doctors and strangers in abundance to the place. Baths and hotels are already set up, and though the quiet, picturesque past is threatened with an overflow of modern buildings, fashions, and elegance (so-called), let us hope that the inhabitants at all events will profit by these innovations, even if the artist and archæologist may sigh over them.

CHAPTER XIV

Plan for seeing the Town—Hotels

A delightful expedition, occupying a good four hours, can be had by tram or carriage, to Soave, but a little walking is required to go right up to the Castle of the Scaligers, perched above the old walled-in town (chapter xiii.).

The best hotel in Verona is the Hôtel de Londres, also known as that of the Deux Tours. Part of the building is said to have once formed part of the Palace of the Scaligers, a statement that may well be the case, given its position and proximity to the house once inhabited by the lords of Verona. Here too is a good guide, one Illuminato Veronesi, who speaks English and knows his Verona well.

The Hôtel S. Lorenzo is pleasantly placed near the banks of the Adige. The Hôtel Colomba d’Oro stands in the Via Colomba, and is not far from the Piazza Vittorio Emanuele and the Arena.

VERONA
GENEALOGICAL TABLE OF THE SCALIGERS.
GENEALOGICAL TABLE OF THE SCALIGERS.