In the north-east corner of the little cemetery stands the most gorgeous of the Scaliger tombs. It is that of Cansignorio, and was raised by him during his lifetime, the architect and sculptor being Bonino da Campiglione. This monument far exceeds that of Cangrande I. and Mastino II. in exuberance of ornamentation and in richness of detail. Cansignorio was evidently determined to atone for the lack of godliness and goodness in his nature by an ostentatious display of saintly characters and saintly actions about his tomb. As has been shown, he was cunning, ambitious, and cruel, and a fratricide twice told. He had nevertheless no hesitation in causing himself to be represented as being received by our Lord and His mother in an [Illustration: MONUMENT OF GIOVANNI DELLA SCALA, VERONA] attitude of devotion, and probably had no misgivings as to the eventful fulfilment of the scene thus given. The monument is hexagonal, supported on six columns; the canopy and apex are of Verona marble, of the kind known as “mandolato,” while the inside dome of the canopy is painted with gold stars on a blue ground. Six figures of warrior saints on square pilasters keep watch over this lord of Verona (who some writers say was neither a saint nor a warrior) and are St Quirinus, St Valentine, St George, St Sigismund, St Martin, and St Louis. Above them again are the figures of Faith, Hope, Charity, Prudence, Justice, and Fortitude; while to crown the whole is the effigy of Cansignorio himself on horseback, with his vizor raised and the “scala” on his breast. This badge of the family is brought in at every possible [Illustration: TOMB OF CANSIGNORIO DELLA SCALA] opportunity, and is always here shown surmounted by the Cross. Very beautiful also is the tomb of Giovanni della Scala, an illegitimate member of the family, and Vicar-General of Vicenza. His remains, first buried in the church of St Fermo Minore, were afterwards brought here, and laid to rest with every honour, and in a manner befitting such impressive surroundings. These monuments are Gothic in style, and may justly rank among the finest things that the fourteenth century has produced in this way. It must be borne in mind that they were fashioned before Verrocchio and Donatello had executed the works which were to astonish the world, and model for after generations the types of equestrian statues which were to serve as guides for all ages to come. It will be well to refresh our memories with Ruskin’s beautiful words as to these tombs, words which were poured forth in all the glow of admiration and enthusiasm over objects he loved so well, and which he describes in language which cannot be heard too often.