Next to this monument in date, as in merit, is that of Mastino II., wanting perhaps in some of the severe simplicity of the other, but even more striking, as it stands at the angle of the cemetery. It is a thoroughly grand and noble erection of two stages in height, the lower unimportant, and only serving as a means of raising the monument sufficiently high to be well seen from the exterior; upon this stand four shafts, between which, and supported upon four much smaller shafts, is the sarcophagus on which lies the recumbent effigy, at whose head stand angels with expanded wings[18] guarding the deceased. The sarcophagus is adorned with bas-reliefs--that on the west side being the Crucifixion--and has engaged angle-shafts. The four main bearing-shafts at the angles of the monument have finely carved caps with square abaci from which rise simple trefoiled arches with steep pediments on each side filled with sculpture in relief, and between these are exquisitely simple niches, each a miniature reproduction of the entire monument, and containing between their delicate detached shafts figures of saints. The whole is finished with a heavy pyramidal capping, crocketed at the angles with crockets so abominable in their shape and carving that they go far to spoil the entire work, and surmounted by the figure of the Capitano del Popolo, spear in hand, riding on his war-horse; the horse and horseman riding with their faces towards the setting sun, as all in life must ever ride; the effigy below lying so that at the last day the beams of the day-star in the East may first meet its view, and awaken him that sleepeth here in peace. This contrary position of the figure in life and in death, observed also in others of these monuments, is an evidence of the care and thoughtfulness with which every detail of these noble works was wrought out. The monument of Can Signorio is not worthy of so long a description; it is octagonal in its plan, and in many respects below the idea shadowed out so beautifully in the others; the reduplication of niches and gables, far from improving, only perplexes the design: and when to this is added that the carving throughout, as well as the other details, show strong signs of a leaning towards Renaissance, one may see some reason why this, the most elaborate and complicated of all the monuments, is after all far from being the most successful.