"The tomb of the noble and distinguished Herr Frederic, and of the distinguished and energetic Herr the Lord Nicholas of the house of the Horse, and of their heirs, who gave back his soul to the stars in the year of our Lord 1390." 226. This Frederic and Nicolas Cavalli were the brothers of the Jacopo Cavalli who is buried at Venice, and who, by a singular fatality, was enrolled among the Venetian nobles of the senate in the year in which his brother died at Verona (for I assume the "spiritum redidit" to be said of the first-named brother). Jacopo married Constance della Scala, of Verona, and had five sons, of whom one, Giorgio, Conte di Schio, plotted, after the fall of the Scaligers, for their restoration to power in Verona, and was exiled, by decree of the Council of Ten, to Candia, where he died. From another son, Conrad, are descended the Cavallis of Venice, whose palace has been the principal material from which recent searchers for the picturesque in Venice compose pictures of the Grand Canal. It forms the square mass of architecture on the left, in the continually repeated view of the Church of the Salute seen from the steps of the Academy. The genealogy of the family, from the thirteenth century, when they first appeared in Italy, to the founder of this Venetian lordship, had better be set before the reader in one view.[11] GIOVANNI, Condottiere in service of the Visconti, 1274. | NICOLA, Condottiere, 1297. | FEDERICO, Podesta of Vicenza under the Scaligers, 1331. | CONRADO, Condottiere, 1350. | |--------------+-------------| FEDERIGO, JACOPO, NICOLA, | |---------+----------+----------+----------| NICOLA, GIOVANNI, CONRADO, FEDERIGO, GIORGIO. Founds Venetian family. 227. Now, as above stated, I believe that the fresco of the three knights was commanded by the Podesta of Vicenza, on his receiving that authority from the Scaligers in 1331, and that it represents Giovanni, Nicola, and himself; while the tomb of Federigo and Nicola would be ordered by the Venetian Cavallis, and completed without much care for the record of the rise of the family at Verona. Whether my identification of the figures seen kneeling in the fresco be correct or not, the representation of these three Cavalli knights to the Madonna, each interceded for by his patron saint, will be found to receive a peculiar significance if the reader care to review the circumstances influencing the relation of the German chivalry to the power of the Church in the very year when Giovanni Cavalli entered the ranks of the Visconti.