PADUA. 44. Route. 271
rendered Padua a very famoua seat of learning throughout the middle ages
and the Renaissance period.
In the History of Art Padua is also an important place, its reputa-
tion as the chief seat of Italian learning having attracted many artists. The
Florentine masters Giotto, Paolo Uccello, Fra Filippo Lippi, and Donatello
found abundant occupation here. The native artists were introduced to
the antique by the classical scholars; and the school of art founded here by
Francesco Squarcione (1397-1474) exhibits a peculiar doctrinaire character.
Squarcione, though not a professional artist, made a valuable collection of
works of art during his travels, and caused young artists to make draw¬
ings from these models. The austere style peculiar to the Paduan pictures
ia perhapa due to this doctrinaire training of the artists and to the in¬
fluence of Donatello. The greatest master of the Paduan school, which
materially influenced that of Venice in the 15th cent., was Andrea Man¬
tegna (p. 265), who exhibits an almost northern, Albrecht-Dürer-like
severity of style. The chief work of his early period is in the church
of the Eremitani. A distinguishing characteristic of the school is its
predilection for richness of decoration, for which Squarcione's collection
doubtless supplied abundant models.
From the Main Railway Station (Pl. D, 1) we follow the tram-
way-line through the Barriera Mazzini and across the piazza of that
ñame (Pl. C, 2), adorned since 1903 with a bronze statue of Mazzini
(p. 74), to the (6 min.) centre of the town. — In the adjoining
Piazza Pbteaeca (Pl. C, 2) rises a monument to Petrarch (p. 377),
erected in 1874. — On the N. side of the piazza stand the Church of i
Carmini and the Scuola del Carmine (now a baptistery; sacristán
in the cloisters), with sadly-damaged 16th cent, frescoes from the
Uves of Christ and St. Joachim, Anna, and Mary.
Left of the altar: Titian, Meeting of Joachim and Anna, executed in
1511, at the same time as the frescoes in the Scuola del Santo (p. 274; badly
injured); on the end-wall, Dom. Campagnola, Birth of Christ and Adoration
of the Magi; the others are by inferior masters.
Near the Piazza Petrarca are the Ponte Molino (Pl. C, 3) and a
Tower, bearing the (modern) inscription, 'mesto avanzo di nefanda
tirannide: Ezzelino eresse 1250', which recalls the tyranny of Ezze-
lino da Romano (p. 280). From the bridge the Via Dante leads
direct to the Piazza dell' Unitá d'Italia and the Cathedral (p. 272).
In the meantime we follow the tramway to the left, traversing
the Via Garibaldi, from which the Via Giovanni Cittadella leads to
the left to the Madonna dell' Arena and the Eremitani (p. 277).
The Via Garibaldi brings us to the Piazza Gaeibaldi (Pl. D, 3)
and the Piazza Cavoue (Pl. D, 4), which, with the neighbouring
Via Otto Febbraio (Pl. D, 4), now form the chief centre of life and
In the Via Otto Febbraio, to the left, stands the TJniversity
(Pl. D, 4), occupying a building called 'II Bb\ from a tavern with
the sign of the ox which once existed in the vicinity. In the hand¬
some eolonnades in the court, erected in 1552 by Jac. Sansovino,
are numerous ñames and armorial bearings of distinguished 'cives
academia'. Handsome aula.
Opposite are two streets leading to the W. to the Piazza leí
Feutti and the Piazza Eebe (Pl. C, 4). At the N.E. angle of the