274 Route 40. PADUA. Scuola del Santo.
by cutting off his leg; 8. Conversión of a heretic by a miracle with a glass,
by Gian Maria da Padova and Paolo della Stella (1529); 9. St. Anthony giving
speech to an infant to enable it to prove its mother's innoccnce, by Antonio
Lombardo (1505; beautiful, but somewhat cold, and inspired by a study of
Greek sculpture). The bones of the saint repose beneath the altar, which
is adorned with many votive tablets. Two magniflcent silver candelabra,
borne by angels in marble. Beautiful white and golden ornamentation on
the ceiling by Tiziano Minio (ca. 1540), from designs by Sansovino.
Left Aisle. Adjoining the Cap. del Santo is the baroque monument of
Caterino Cámaro (d. 1674), 'Dalmatise, dein Cretse cum summa potestate
legatus', by Giuslo le Court; to the left is the monument of the jurist
Antonio Roselli (d. 1466), by Bart. Belluno.
Choir. The marble screen was designed by Donatello; on its inner
side are twelve reliefs in bronze, from the Oíd Testament, ten by Bellano
(1484-88), two (David before the Ark, Judith and Holofernes; the 3rd and
5th to the left) by Riccio (1507). The full-length portrait of St. Anthony,
by the exit on the left, is aaid to be the beat likenesa. — The High Altar,
executed in 1446-50 by Donutello and hia pupils and removed in 1576 to
make room for an altar by Girol. Campagna, was restored from a not
very successful design of Camillo Boito in 1895 and adorned with the original
sculptures by Donatello. Below are twelve charming angelic musicians
(largely studio - pieces), a fine 'Deposition in the Tomb, and the symbola
of the four Evangelists (studio-pieces). On the antependium are a Pieta
and four exquisite "Reliefs in bronze (Miraclea of St. Anthony). On the
altar and parapet is a brazen crucifix, with the Virgin, the tuteláis of
Padua, and four other saints. — By the altar is a bronze "Candelabrum,
IIV2 ft. high, by Riccio, with a variety of Christian and heathen represen-
Ambulatory. To the left of the Capp. del Santo ia the tomb of the
jurist Raffaello Pulgoso (d. 1427), probably by Piero di Niccolb (p. 327). Behind
is the Cappella del Beato Luca Belludi, with frescoea by Giusto Padovano
(1382; retouched). Farther on, on each side of the sanctuary, are six
national chapéis, recently repainted.
The Sanctuary (adm. 31/2 fr. for one or more), added to the church
in 1690, contains a collection of admirable "Goldsmith's Work of the 15th
and 16th cent., including the marahal'a baton of Gattamelata, a reliquary
with the tongue of St. Anthony, a Gothic censer, and a credence píate.
The Sacristy contains mosaics in wood (freely restored) executed
from Squarcione's designs by Lor. and Cristof. da Lendinara. The marble
decoration ia by Bart. Bellano (1469-72). — The adjoining Cappella del
Capitolo contains some fragmentary frescoes by Giotto.
The Gothic Cloisters, entered from the S. aisle, with their wide and
lofty pointed arches, contain many ancient tombatonea.
The Scuola del Santo (Pl. D, 5), on the S. side of the Piazza
del Santo, the hall of the brotherhood of St. Anthony, is adorned with
seventeen frescoes (mostly repainted) from the life of the saint;
three of them are by Titian (1511). Written catalogue. Best light
in the afternoon; fee 50 c.
By the entrance, to the right: "I. Titian, St. Anthony causing an infant
to bear witness (see above); II. & III. Dom. Campagnola, The stone in the
corpse of the miser (p. 273), Miracle of the ass; IV. Filippo da Verona (t),
St. Anthony appears to the. people of Padua and foretells the fall of Ezze-
lino (p. 280); V. School of Titian, Death of St. Anthony; VI. Giov. Con-
turiniC!), Transferring the bones of the saint; VII. Girol. del Santo, Miracle
with a glass (see above); VIII. Filippo da Verona (?), Meeting of the saint
with Ezzelino; IX. Girol. del Santo, Madonna with SS. Francis and Anthony;
X. Filippo da Verona, Miracle ot the rain; XI. Titian, Resuscitation of a
woman slain by her jealous husband (injured); "XII. Titian, Curing the
boy'a leg (p. 273); XIII. Si XIV. diafigured; XV. painted in 1775; XVI. alao
by a later artist; XVII. Dom. Campugnola, Resuscitation of a child who
had been drowned.