almost purely Gothic city in her architecture, and her churches are more worthy to be seen than any others in North Italy, outside of Venice.  San Zenone, with the quaint bronzes on its doors representing in the rudeness of the first period of art the incidents of the Old Testament and the miracles of the saints—­with the allegorical sculptures surrounding the interior and exterior of the portico, and illustrating, among other things, the creation of Eve with absolute literalness—­with its beautiful and solemn crypt in which the dust of the titular saint lies entombed—­with its minute windows, and its vast columns sustaining the roof upon capitals of every bizarre and fantastic device—­is doubtless most abundant in that Gothic spirit, now grotesque and now earnest, which somewhere appears in all the churches of Verona; which has carven upon the facade of the Duomo the statues of Orlando and Olliviero, heroes of romance, and near them has placed the scandalous figure of a pig in a monk’s robe and cowl, with a breviary in his paw; which has reared the exquisite monument of Guglielmo da Castelbarco before the church of St. Anastasia, and has produced the tombs of the Scaligeri before the chapel of Santa Maria Antica.

I have already pledged myself not to attempt any description of these tombs, and shall not fall now.  But I bought in the.  English tongue, as written at Verona, some “Notices,” kept for sale by the sacristan, “of the Ancient Churg of Our Lady, and of the Tombs of the most illustrious Family Della-Scala,” and from these I think it no dereliction to quote verbatim.  First is the tomb of San Francesco, who was “surnamed the Great by reason of his valor.”  “With him the Great Alighieri and other exiles took refuge.  We see his figure extended upon a bed, and above his statue on horsebac with the vizor down, and his crest falling behind his shoulders, his horse covered with mail.  The columns and capitals are wonderful.”  “Within the Cemetery to the right leaning against the walls of the church is the tomb of John Scaliger.”  “In the side of this tomb near the wall of Sacristy, you see the urn that encloses the ashes of Martin I.,” “who was traitorously killed on the 17th of October 1277 by Scaramello of the Scaramelli, who wished to revenge the honor of a young lady of his family.”  “The Mausoleum that is in the side facing the Place encloses the Martin II.’s ashes....  This building is sumptuous and wonderful because it stands on four columns, each of which has an architrave of nine feet.  On the beams stands a very large square of marble that forms the floor, on which stands the urn of the Defunct.  Four other columns support the vault that covers the urn; and the rest is adorned by facts of Old Testament.  Upon the Summit is the equestrian statue as large as life.”  Of “Can Signorius,” whose tomb is the most splendid of all, the “Notices” say:  “He spent two thousand florins of gold, in order to prepare his own sepulchre while he was