Volume 2 — CATALOGUE.
Reading edition
(See ante, p. 101.—Ed.)
Drawings and Photographs, illustrative of the Architecture of Verona, shown at the Royal Institution, Feb. 4th, 1870.
SECTION I. Nos. 1 to 7. LOMBARD.
242. (1.) Porch of the Church of St. Zeno. (Photograph.)
Of the 12th century.
(2.) Porch of the South Entrance of the Duomo.
Probably of the 10th or 11th century, and highly remarkable for the wildness of its grotesque or monstrous sculpture, which has been most carefully rendered by the draughts-man, Mr. Bunney.
It will save space to note that the sketches by my two most skillful and patient helpers, Mr. A. Burgess and Mr. Bunney, will be respectively marked (A) and (B), and my own (R).
(3.) Porch of the Western Entrance of the Duomo. (Photograph.)
Later in date—but still of 12th or very early 13th century. Details of it are given in the next drawings.
243. (4.) Griffin (I keep the intelligible old English spelling), sustaining the Pillar on the North Side of the Porch seen in No. 3. (R.)
Painted last summer.
I engraved his head and breast, seen from the other side, in the plate of "True and False Griffins," in "Modern Painters." Only the back of the head and neck of the small dragon he holds in his fore-claws can be seen from this side.
(5.) Capital of the Pillar sustained by the Griffin, of which the base is seen in No. 4. (A.)
First-rate sculpture of the time, and admirably drawn.
(6.) Portion of decorative Lombardic molding from the South Side of the Duomo. (A.)
Showing the peculiar writhing of the branched tracery with a serpentine flexure—altogether different from the springing lines of Gothic ornament. It would be almost impossible to draw this better; it is much more like the real thing than a cast would be.
(7.) Lion, with Dragon in its claws, of Lombardic sculpture (now built into a wall at Venice); above it, head of one of the Dogs which support the Tomb of Can Grande, at Verona. (R.)
The lion—in its emaciated strength, and the serpent with its vital writhe and deadly reverted bite, are both characteristic of the finest Lombard work. The dog's head is 14th century Gothic—a masterpiece of broad, subtle, easy sculpture, getting expression with every touch, and never losing the least undulation of surface, while it utterly disdains the mere imitation of hair, or attainment of effect by deep cutting.
SECTION II. Nos. 8 to 38. GOTHIC.
244. (8.) North Porch of the Church of St. Fermo. 13th century. (B.)
Mr. Bunney's drawing is so faithful and careful as almost to enable the spectator to imagine himself on the spot. The details of this porch are among the most interesting in the Gothic of Italy, but I was obliged, last year, to be content with this general view, taken in terror of the whole being "restored"; and with the two following drawings.
(9.) Base of the Central Pillar. North Porch, St. Fermo. (B.)
In facsimile, as nearly as possible, and of the real size, to show the perpetual variety in the touch; and in the disposition and size of the masses.
(10.) Shaft-Capitals of the Interior Arch of the North Porch, St. Fermo. (B.)
Contrived so that, while appearing symmetrical, and even monotonous, not one lobe of any of the leaves shall be like another.
Quite superb in the original, but grievously difficult to draw, and losing, in this sketch, much of their grace.
245. (11.) Western Door of the Church of St. Anastasia, with the Tomb of the Count of Castelbarco on the left, over the arch. (Photograph.)
In the door, its central pillar, carved lintels and encompassing large pointed arch, with its deep moldings and flanking shafts, are of the finest Veronese 13th century work. The two minor pointed arches are of the 14th century. The flanking pilasters, with double panels and garlands above, are the beginning of a façade intended to have been erected in the 15th century.
The Count of Castelbarco, the Chancellor of Can Grande della Scala, died about the year 1330, and his tomb cannot be much later in date.
The details of this group of buildings are illustrated under the numbers next in series.
(12.) Pillars and Lintels of the Western Door of St. Anastasia. (Photograph.)
The sculpture of the lintel is first notable for its concise and intense story of the Life of Christ.
1. The Annunciation. (Both Virgin and Angel kneeling.) 2. The Nativity. 3. The Epiphany. (Chosen as a sign of life giver to the Gentiles.) 4. Christ bearing His Cross. (Chosen as a sign of His personal life in its entirety.) 5. The Crucifixion. 6. The Resurrection.
Secondly. As sculpture, this lintel shows all the principal features of the characteristic 13th century design of Verona.
Diminutive and stunted figures; the heads ugly in features, stern in expression; but the drapery exquisitely disposed in minute but not deep-cut folds.
(13.) The Angels on the left hand of the subject of the Resurrection in No. 12. (A.)
Drawn of its actual size, excellently.
The appearance of fusion and softness in the contours is not caused by time, but is intentional, and reached by great skill in the sculptor, faithfully rendered in the drawing.
(14.) Sketch of the Capital of the Central Pillar in No. 12. (R.)
(With slight notes of a 16th century bracket of a street balcony on each side.)
Drawn to show the fine curvatures and softness of treatment in Veronese sculpture of widely separated periods.
246. (15.) Unfinished Sketch of the Castelbarco Tomb, seen from one of the windows of the Hotel of the "Two Towers." (R.)
That inn was itself one of the palaces of the Scaligers; and the traveler should endeavor always to imagine the effect of the little Square of Sta. Anastasia when the range of its buildings was complete; the Castelbarco Tomb on one side, this Gothic palace on the other, and the great door of the church between. The masonry of the canopy of this tomb was so locked and dove-tailed that it stood balanced almost without cement; but of late, owing to the permission given to heavily loaded carts to pass continually under the archway, the stones were so loosened by the vibration that the old roof became unsafe, and was removed, and a fine smooth one of trimly cut white stone substituted, while I was painting the rest of the tomb, against time. Hence the unfinished condition of my sketch the last that can ever be taken of the tomb as it was built.
(16.) The Castelbarco Tomb, seen laterally. (B.)
A most careful drawing, leaving little to be desired in realization of the subject. It is taken so near the tomb as to make the perspective awkward, but I liked this quaint view better than more distant ones.
The drawing of the archway, and of the dark gray and red masonry of the tomb is very beautiful.
247. (17.) Lion with Hind in its Claws. (A.)
The support of the sarcophagus, under the feet of the recumbent figure in the Castelbarco Tomb.
(18.) Lion with Dragon in its claws. (A.)
The support of the sarcophagus at the head of the figure.
(19.) St. Luke. (A.)
Sculpture of one of the four small panels at the angles of the sarcophagus in the Castelbarco Tomb. I engraved the St. Mark for the illustration of noble grotesque in the "Stones of Venice." But this drawing more perfectly renders the stern touch of the old sculptor.
(20.) Two of the Spurs of the bases of the Nave Pillars in the Church of St. Anastasia. (A.)
Of the real size. Not generally seen in the darkness of the Church, and very fine in their rough way.
248. (21.) Tomb of Can Grande, general view. (R.)
Put together some time since, from Photograph and Sketches taken in the year 1852; and inaccurate, but useful in giving a general idea.
(22.) Tomb of Can Grande. (R.)
Sketch made carefully on the spot last year. The sarcophagus unfinished; the details of it would not go into so small a space.
(23.) The Sarcophagus and recumbent Statue of Can Grande, drawn separately. (R.)
Sketched on the spot last year. Almost a faultless type of powerful and solemn Gothic sculpture. (Can Grande died in 1329.)
(24.) The Two Dogs. (R.)
The kneeling Madonna and sculpture of right hand upper panel of the Sarcophagus of Can Grande.
The drawing of the panel is of real size, representing the Knight at the Battle of Vicenza.
(25.) The Cornice of the Sarcophagus of Can Grande. (A.)
Of its real size, admirably drawn, and quite showing the softness and Correggio-like touch of its leafage, and its symmetrical formality of design, while the flow of every leaf is changeful.
249. (26.) Study of the Sarcophagus of the Tomb of Mastino II., Verona. (R.)
Sketched in 1852.
(27.) Head of the recumbent Statue of Mastino II. (A.)
Beautifully drawn by Mr. Burgess.
Can Mastino II. had three daughters:—Madonna Beatrice (called afterwards "the Queen," for having "tutte le grazie che i cieli ponno concedere a femina," and always simply called by historians Lady "Reina" della Scala), Madonna Alta-luna, and Madonna Verde. Lady Reina married Bernabó Visconti, Duke of Milan; Lady Alta-luna, Louis of Brandebourg; and Lady Verde, Gonzaga, Duke of Mantua. Their father died of "Sovereign melancholy" in 1350, being forty-three years old.
(28.) Part of Cornice of the Sarcophagus of Mastino II. (A.)
One of the most beautiful Gothic cornices in Italy; its effect being obtained with extreme simplicity of execution out of two ridges of marble, each cut first into one united sharp edge all along, and then drilled through, and modeled into leaf and flower.
(29.) Sketch, real size, of the pattern incised and painted on the drapery of the Tomb of Can Mastino II. (R.)
It is worth notice for the variety of its pattern; observe, the floral fillings of spaces resemble each other, but are never the same. There is no end, when one begins drawing detail of this kind carefully. Slight as it is, the sketch gives some idea of the easy flow of the stone drapery, and of the care taken by the sculptor to paint his pattern as if it were bent at the apparent fold.
250. (30.) Tomb of Can Signorio della Scala.
Samuel Prout's sketch on the spot; (afterwards lithographed by him in his "Sketches in France and Italy";) quite admirable in feeling, composition, and concise abstraction of essential character.
The family palace of the Scaligers, in which Dante was received, is seen behind it.
(31.) A single niche and part of the iron-work of the Tomb of Can Signorio. (R.)
As seen from the palace of the Scaligers; the remains of another house of the same family are seen in the little street beyond.
(32.) Study of details of the top of the Tomb of Can Signorio. (R.)
Needing more work than I had time for, and quite spoiled by hurry; but interesting in pieces here and there; look, for instance, at the varied size and design of the crockets; and beauty of the cornices.
(33.) Bracket under Sarcophagus of Giovanni della Scala. (A.)
Characteristic of the finest later treatment of flowing foliage.
251. (34.) Part of the front of the Ducal Palace, Venice. (R.)
Sketched, in 1852, by measurement, with extreme care; and showing the sharp window traceries, which are rarely seen in Photographs.
(35.) Angle of the Ducal Palace, looking Seaward from the Piazzetta. (R.)
Sketched last year, (restorations being threatened) merely to show the way in which the light is let through the edges of the angle by penetration of the upper capital, and of the foliage in the sculpture below; so that the mass may not come unbroken against the sky.
(36.) Photograph of the Angle Capital of Upper Arcade seen in No. 34.
Showing the pierced portions, and their treatment.
(37-38.) Capitals of the Upper Arcade.
Showing the grandest treatment of architectural foliage attained by the 14th century masters; massive for all purposes of support; exquisitely soft and refined in contour, and faultlessly composed.
SECTION III. Time of "THE MASTERS."
252. (39.) Study of the top of the Pilaster next the Castelbarco Tomb. (R.)
The wild fig leaves are unfinished; for my assistant having unfortunately shown his solicitude for their preservation too energetically to some street boys who were throwing stones at them, they got a ladder, and rooted them up the same night. The purple and fine-grained white marbles of the pilaster are entirely uninjured in surface by three hundred years' exposure. The coarse white marble above has moldered, and is gray with lichens.
(40.) Study of the base of the same Pilaster, and connected Facade. (R.)
Showing the effect of differently colored marbles arranged in carefully inequal masses.
253. (41.) Interior Court of the Ducal Palace of Venice, with Giant's Stair. (R.)
Sketched in 1841, and perhaps giving some characters which more finished drawing would lose.
(42.) The Piazza d' Erbe, Verona. (R.)
Sketched in 1841, showing general effect and pretty grouping of the later Veronese buildings.
(43.) Piazza de' Signori, Verona.
Sketched last year. Note the bill advertising Victor Hugo's "Homme qui rit," pasted on the wall of the palace.
The great tower is of the Gothic time. Note its noble sweep of delicately ascending curves sloped inwards.
(44.) Gate of Ruined School of St. John, Venice. (Photograph.)
Exquisite in floral sculpture, and finish of style.
(45.) Hawthorn Leaves, from the base of Pilaster, in the Church of St. Maria dé Miracoli, Venice. (R.)
In the finest style of floral sculpture. It cannot be surpassed for perfectness of treatment; especially for the obtaining of life and softness, by broad surfaces and fine grouping.
(46.) Basrelief from one of the Inner Doors of the Ducal Palace.
Very noble, and typical of the pure style.
(47.) St. John Baptist and other Saints. (Cima da Conegliano.)
Consummate work; but the photograph, though well taken, darkens it terribly.
(48.) Meeting of Joachim and Anna. (Vettor Carpaccio.) (Photograph.)
(49.) Madonna and Saints. (John Bellini.) Portrait. (Mantegna.)
(Photographs.)
(50.) Madonna. (John Bellini.)
With Raphael's "Della Seggiola." Showing the first transition from the style of the "Masters" to that of modern times.
The Photographs in the above series are all from the Pictures themselves.