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tality to literary men, should have become, under the sway of their successors, so remarkable for the crimes by which its lords were stained. The houses of Medici and Este were the only ones, besides the Scaligeri, in Italy, accused of fratricide ; and the guilt of the Medici and Este, though asserted, was never positively proved. Cane Signorio assassinated Cane Grande the second when on horseback in the public street, and when on his death-bed, commanded the murder of his younger brother, long kept a prisoner by him. This crime was committed to remove him as an obstacle to the succession of the illegitimate sons of Signorio, one of whom, Antonio, shortly after procured the death of his junior brother, Bartolommeo.

It is strange that so remarkable a fragment of antiquity as the amphitheatre here, should never have been mentioned by Dante. Was it that his mind was so wholly engrossed by the stirring events of his own times, events so powerfully influencing his destiny and exciting his passions, that they left him no leisure for the calm and philosophical contemplation which leads one to the study of those great land-marks of the remote past; which, like the antediluvian remains discovered deep bedded in high mountains, appeal so forcibly to the imagination, by reminding one of by-gone generations.

The amphitheatre here loses much, in my estimation at least, by its restoration. It looks too new to impress one with a conviction of its antiquity, until

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an examination of the solidity of the construction removes all doubts. The ancients built, not only for themselves, but for posterity ; and their buildings may always be recognized by their solidity, while ours seem as if only meant to last during our lives, and perhaps during those of our children, whose descendants will have to erect dwellings for themselves.

May not this peculiarity in the domestic buildings of our time be attributed to the increase of that selfishness which has more or less marked the rapid advance of civilization ? Engrossed by our own pursuits and pleasures, we are apt to lose sight of the interests of our successors; and conscious of our ingratitude to our forefathers, we, by a poetical justice, anticipate that which

may befal us, and leave our descendants little cause for gratitude. He should be considered as being more than ordinarily exempt from egotism who, in middle age, expends in planting or building for futurity, sums of money that could render his own existence a scene of enjoyment. But the consciousness of his self-denial “must be its own exceeding great reward ;” as the chances are that his son, or grandson, will feel but little gratitude for the comforts of a solidly built house, or a well wooded estate, unless, indeed, they may possess the power, as they generally do the will,

, to cut down the trees, or as prodigal heirs express it, to dislodge the squirrels.

But to return to the amphitheatre: Maffei calculates that it would contain twenty-two thousand persons, a calculation that seems to me not to exaggerate its extent. When viewed from the arena it has a very fine effect.

fine effect. Nothing could be better calculated than the shape of these buildings for affording accommodation to a vast number of spectators; all of whom, owing to its elliptical form, could command a perfect view, not only of the arena, but of the whole of the interior of the edifice.

Saw to-day the collection of antiquities presented by the Marquis Maffei to his native town. It is in a museum in the court of the theatre, beneath a peristyle by Palladio. A bust of him is placed over the door of the theatre, with an inscription, expressive of the sense of his merits entertained by his fellow-citizens.

San Michele has beautified Verona nearly as much as Palladio has Vicenza; for some palaces of his that

i I have just seen reflect great credit on his skill and taste. The Canosso is among the finest of the Veronese palaces, and commands a charming view of the Adige. Our cicerone pointed out to us what otherwise might have escaped our observation, namely, a frieze, on which are a vast number of mitres, placed there by the desire of Canossa, a bishop for whom San Michele erected it; and who, actuated by the same spirit that influenced the popes when they caused their arms to be placed not only on the palaces they built, but the antiquities they restored, wished thus to perpetuate his memory, a piece of vanity less allowable in a priest than in others.

The Ridolfi Palace boasts a very fine ceiling, painted by the most celebrated of the Veronese artists, Brusasorci, representing Charles V. and Pope Clement VII. at Bologna, when the former was crowned. The costumes of the time have been strictly followed, which renders this painting very interesting, and the portraits, too, of the Emperor and Pope, are striking.

The Bevilacqua Palace, though never finished, is exceedingly rich, and San Michele seems to have given his fancy free scope in its decorations. The collection of antique statues and busts, for which it was so long celebrated, are dispersed: the greater number, and many of them master-pieces of art, have been transferred to Munich.

The Giusti Palace is converted into a barrack for the Austrian soldiers; and in its gallery, on the walls of which once glowed some of the finest pictures in Italy, may now be seen the rude cyphers, and still more rude sketches in charcoal of the soldiers; and on its floor, where walked dainty dames and admiring connoisseurs, now pace the rough shod Austrians and their helpmates. How would the once proud owners start with surprise and indignation, could they behold the change in their princely dwellings! but among the tortures menaced to be endured in another world, that of knowing what passes in this is not included, and which, in some cases, might not be the least bitter.

I have been again making a tour of palaces today; and was much pleased with the Guasta Verza by San Michele. The Gran Guardia Palace is of vast dimensions; and is by some asserted to have been erected by San Michele, while others maintain it to have been built by one of his relatives ; with which opinion I am disposed to coincide, for though an imposing pile of building, it wants the perfect proportion and fitness which characterise his style, and of which the Porta del Palio is a very happy specimen.

The cathedral, which we saw to-day, is more curious than beautiful; over its door are allegorical effigies of three queens who assisted its foundation, , the mother, wife, and daughter of Charlemagne, who are represented as Faith, Hope, and Charity. In front of the entrance, are two figures standing on gothic pilasters, covered with a most heterogeneous number of grotesque ornaments. These personages have twisted mustachios, wear armour, and carry drawn swords; which formidable appendages give them a very grim and fierce appearance.

We looked with interest at the tomb of the Archdeacon Pacifico, who wrote the first commentary on the Bible; a fact noted in the epitaph inscribed on his monument, with the less meritorious one of his invention of a clock to strike in the night, as also of his having had a handsome face.

There are some other monuments in the cathedral, and among them that of Pope Lucius III., who, expelled from Rome, died at Verona; but an

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