. The story of Verona . his wife, Taddea daCarrara, kneeling at the base of the picture on eitherside. The tradition that once ascribed this picture toGiotto has now been com])letely done away. TheFlagellation here is by RidoUi. The next chapel,that of the Miniscalchi family, is rich in Renaissanceand classical decoration, and possesses a good pictureby Giolfino of the Descent of the Holy Spirit (1518). The remaining altars in the church have no objectsthat claim any special attention, and after a study ofso much that is beautiful ;ind absorbing, it is almost arelief to wander away, noting onl
. The story of Verona . his wife, Taddea daCarrara, kneeling at the base of the picture on eitherside. The tradition that once ascribed this picture toGiotto has now been com])letely done away. TheFlagellation here is by RidoUi. The next chapel,that of the Miniscalchi family, is rich in Renaissanceand classical decoration, and possesses a good pictureby Giolfino of the Descent of the Holy Spirit (1518). The remaining altars in the church have no objectsthat claim any special attention, and after a study ofso much that is beautiful ;ind absorbing, it is almost arelief to wander away, noting only once again the gloryof the entire church, and observing with pleasure thevery effective and simple design of the pavement at ourfeet in its threefold pattern of grey and red and whitemarble. Immediately outside the church on the right handside stands the tomb of Guglielmo da Castelbarco, 169 The Story of Verona the friend and councillor of Cangrande della Scala—and a friend too to Verona, in that it was his largess. TOMB OF GUGLIELMO DA CASTEL8ARC0 that contributed chiefly to the building of St Anastasiaand of that of S. Fermo as well. This munificent patron of Verona (who was besidesits Podesta) deserved to have what has been justlytermed the most perfect monument in the city where170 Tomh of Guglielmo da Castelbarco the finest monuments existing in Italy are to be indeed has pronounced it to be, the mostperfect Gothic monument in the world; and againhe alludes to it as pure and lovely, my most belovedthroughout all the length and breadth of Italy—chiefas I think among all the sepulchral marbles of a landof mourning. Four columns of white marble surmounted bysculptured capitals bear the canopy, which is formedof a simple Gothic arch, richly cusped and adorned witha decorative piece of carving in harmony with the purityof style which marks the whole of the the canopy lies the effigy of the dead magistrate,a recumbent figure laid on the top of a
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