the monumental sculpture of S. Zanipolo. In the tombs of the Doges the
old Pisan motive of the curtains (first used by Arnolfo di Cambio at
Orvieto, and afterwards with grand effect by Giovanni Pisano at Perugia)
is expanded into a sumptuous tent-canopy. Pages and genii and mailed
heroes take the place of angels, and the marine details of Roman reliefs
are copied in the subordinate decoration. At Verona the mediaeval tombs of
the Scaligers, with their vast chest-like sarcophagi and mounted warriors,
exhibit features markedly different from the monuments of Tuscany; while
the mixture of fresco with sculpture, in monuments like that of the
Cavalli in S. Anastasia, and in many altar-pieces, is at variance with
Florentine usage. On the terra-cotta mouldings, so frequent in Lombard
cities, I have already had occasion to touch briefly. They almost
invariably display a feeling for beauty more sensuous, with less of
scientific purpose in their naturalism, than is common in the Tuscan
style. Guido Mazzoni of Modena, called Il Modanino, may be mentioned as
the sculptor who freed terra-cotta from its dependence upon architecture,
and who modelled groups of overpowering dramatic realism. His "Pieta," in
the Church of Monte Oliveto at Naples, is valuable, less for its
passionate intensity of expression than for the portraits of Pontano,
Sannazzaro, and Alfonso of Aragon.[112] This sub-species of sculpture was
freely employed in North Italy to stimulate devotion, and to impress the
people with lively pictures of the Passion. The Sacro Monte at Varallo,
for example, is covered with a multitude of chapels, each one of which
presents some chapter of Bible history dramatically rendered by life-size
groups of terra-cotta figures. Some of these were designed by eminent
painters, and executed by clever modellers in clay. Even now they are
scarcely less stirring to the mind of a devout spectator than the scenes
of a mediaeval Mystery may have been.

The Certosa of Pavia, lastly, is the centre of a school of sculpture that
has little in common with the Florentine tradition. Antonio Amadeo[113]
and Andrea Fusina, acting in concert with Ambrogio Borgognone the
painter, gave it in the fifteenth century that character of rich and
complex decorative beauty which many generations of artists were destined
to continue and complete. Among the countless sculptors employed upon its
marvellous facade Amadeo asserts an individuality above the rest, which i