Verona’s ‘Faire Old Castle’ ~ Lords of Foul Play?

Castelvecchio, ‘old castle’, was the most important military structure of the Scaliger empire that ruled the city during the Middle Ages

Mystery surrounds Lord Cangrande I (1291 to 1329), early Lord of Verona, like a dark shadow. Historical documents claimed he expired suddenly from polluted drinking water but doubt remained among scholars. Shocking results from a recent exhumation revealed toxic levels of digitalis, a strong poison from the Foxglove family, discovered throughout his liver and colon. It appears that he was likely poisoned under the cloak of medical treatment in the midst of his astounding military victories. One of his physicians was hung afterwards by his successor, Mastino II. Foul play? One would think so.

Lord Cangrande I was the most celebrated of the Scaliger family, the Lords of Verona, who ruled from 1260 to 1387. A noble ruler who was a warrior, prince and patron of Giotto, Dante and Petrarch, he didn’t live to set foot inside Castelvecchio.

Lord Cangrande II della Scala had the castle and bridge built in 1355 for his protection and that of his ruling family. With a reputation opposite that of his predecessor, he was a cruel and tyrannical governor who needed a safe escape route from his abundance of enemies. Venice, the Sforza family and the Gonzaga were a constant threat. He had no lack of forceful neighbors who surrounded his keep in Verona. If needed, the bridge would allow him to escape northwards to relatives in Tyrol.

William Shakespeare was smitten by the walls of Verona and immortalized them through the words of his Romeo ~

“There is no world without Verona walls, but purgatory, torture, hell itself. Hence “banished” is banished from the world. And world’s exile is death.”  Romeo and Juliette, Act 3, Scene 3

The Adige River in Verona passes gently beneath the red brick segmental arches of the Scaliger Bridge. Graceful in bearing, it was the world’s largest span at the time of its medieval construction. White marble lines the lower sections of the nearly 49 meter length, which connects to the powerful fortress of Castelvecchio.

The day I visited the Castle was grey and chilly, making this imposing Gothic structure all the more real. As I crossed the bridge toward the castle, I passed striking M-shaped merlons (see in photo above) that ran along the top of the walls.  The brickwork opened regularly to offer a view of the river and surrounding countryside. Peace and tranquility permeated the ambience of this visually romantic castle fortress.

 

According to records, a tiny little church existed on this site prior to the castle’s construction. It’s name, San Martino in Acquaro, was adopted by the castle. It became known as Castello di San Martino in Acquaro. In 1404 it was renamed Castelvecchio, Old Castle, and became part of the Venetian Republic as their military compound.

Seven towers in a pentagonal shape give a magnificent character to the castle, which is divided into four buildings. The super lofty castle keep has four main buildings inside. And, a castle is rarely without a moat that surrounds it.

The castle moat is no longer flowing with water from the Adige River, but is full of lush greenery. Notice the equestrian statue of Cangrande I Della Scala at the top center.

 

 Equestrian Statue of Cangrande I della Scalla, sandstone sculpture from the early 14th century housed in the Castle museum. 

The castle remained steeped in historical events. It was brutalized by French troops during the Napoleonic Wars of 1796 when the population reacted violently to the anti-French revolt. During WWII, the retreating Germans destroyed the bridge and tower (Ponte Pietra), which was rebuilt by dredging the river for the original mortar and bricks.

Carlos Scarpa, famous architect of his time, implemented a final restoration of the castle in 1958. Born in Venice, he was an artist very sensitive to historical times. As a result, the Castelvecchio was carefully repaired to its original design.

Castelvecchio at night, photo credits by Google

 

 

The Bronze Beauties of St. Marks

The Original Bronze Horses of St. Marks Basilica

Surrounded by legend. Steeped in mystery. Baffling, bewildering and perplexing. These magnificent bronze horses that pranced high above the arched loggia of St. Marks Basilica in Venice for 500 years have been talked about for centuries, even to this day.

They excite me and fuel my imagination. As I did some research on their beginnings and followed their trail throughout the centuries, I was amazed. It was a trail full of twists and turns that brought them safely ‘home’ to Venice in the end.

St. Marks Basilica and square~ the bronze horses stood above the central arch over the mosaic

Horses (copies) on St. Marks Basilica today

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Believed to have originally been part of a quadriga, four horses pulling a chariot and driver, their composition is unusual. Made of 98% copper, 1% lead and 1% tin to give a more satisfactory guild, they are the only creations of this mix to survive from antiquity. They were created with long legs and short backs as if to be viewed from below.

Quadriga on top of Victor Emanuel in Rome

Who cast the gilded bronze into these dreamlike mythical horses? Were they loot from Rome, or Greece? Why is their history so vague? So mystifying?

The dawn of their forging has been attributed to classical antiquity, created by the famed Greek sculptor Lysippos in the 4th century BC. Lysippos contrived portraits for Alexander the Great, some of which were equestrian statues.

Alexander the Great on horseback believed to be sculpted by Lysippos

Curiously, the ears of the four horses of St. Marks and Alexanders horse are almost identical. For this reason, many art historians have drawn conclusions that they were made by the same person. Hmmm….could be.

Hippodrome of Constantinople-Believed Horses stood atop Central Arch.

What is certain about the horses is that they did stand atop the Hippodrome in Constantinople, placed there by emperor Constantine in the mid 320’s, to commemorate the chariot races. And there they stayed for 900 years. But what happened prior to this time?

No one knows for sure. Speculations abound. It is thought that the four “Lysippos” horses were brought to Rome by Nero. Evidently he had it in his mind to use them as decor at his Golden Palace (Domus Aurea).

Domus-Aurea-what’s left of it.

The Fourth crusade, which became the conquest of Constantinople in the early 13th century, set out to travel by sea. Realizing their need for assistance in getting across the water, they worked out a deal with the Doge of Venice. He was up for it provided they delivered a big chunk of the booty to him as repayment. Prominent in the looted goods from Constantinople were the four horses, which the Doge claimed for himself, along with several other treasures displayed in St. Marks today.

Doge Enrico Dandolo

The four horses were not put up on St. Marks Basilica immediately, but stored in the arsenal which left them a constant temptation for metal-hungry cannon makers. A later Doge put them above the loggia of the basilica as a symbol of Venetian power. There they rested for 500 years. Yet there was more to come.

Napoleon looted Venice in 1797, escaping with crates of masterpieces, the famed winged Lion of St. Mark, and the four gilded horses. All were shipped off to Paris, where the horses, along with a chariot, set atop the Arc du Carrousel, the triumphal arch on the Tuileries end of the Champs-Elysees.

Arc du Carrousel, Paris

In 1815, Vienna sent them back to Venice. Then during world war I, they were moved to Rome for safe keeping. Later during the war (1942), they were removed yet again and hidden in a Benedictine abbey at Praglia, to be returned to St. Marks after the war.

Today, copies of the four horses stand above the central loggia on St. Marks Basilica. The original horses have suffered from pollution and are housed in the museum inside the basilica.

Original Horses housed in the museum in St. Marks Basilica

It has been a long and winding road for these remarkable bronze beauties. They prance proudly through time immortal, bearing themselves exquisitely. Their allure and magnificence, adored by the ancient Greeks and Romans, valued enough to be looted and transported from country to country, has brought these mighty beasts worldwide reverence. Who really knows when and how they came into being. They reserve the right to remain mysterious. It is enough that they stay as they are, beautiful and free, ancient yet everlasting.

“Dance above ground, never descending. Grace Incarnate, Passion on Hooves….”

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