Eremitani. fauva.. 44. Route. 277
Crucifixión, by Michele da Verona (1505; injured), and a Madonna
enthroned with four saints, by Bart. Montagna.
In the Via Roma (Pl. C, 5), beyond the bridge, is a round marble
tablet in the wall, marking the spot where Ezzelino (p. 280) doffed
his helmet and kissed the town-gate on capturing Padua in 1237
In the quiet Piazza Eremitani, to the N.E. of the town, is the
isolated group of buildings consisting of the Eremitani and the Ma¬
donna dell' Arena.
The Eremitani (Pl. D, 3), an oíd Augustine church of the
middle of the 13th cent., restored in 1880, is a long building with
painted vaulting of wood, containing *Frescoes by Andrea Man¬
tegna and his contemporaries of the school of Squarcione, which
are among the most important examples of Northern Italian art.
By the entrance-wall are two painted altars of terracotta, probably by
Giov. Minello, that to the right with a fresco of 1511. On the right and
left are the elabórate Gothic tombs of Ubertino da Carrara (1338-45) and
Jacopo (il Minore) da Carrara (1345-50), by Andriolo de Sanctis of Venice,
brought hither from the church of Sant' Agostino (pulled down in 1820).
In the centre of the left wall is the tomb of the jurist Benavides (d. 1582),
by the Florentine B. Ammanati.
On the walls of the Choir are poor frescoes, ascribed to Guarienlo:
Astronomical representations, Scenes from the life of St. Augustine (re¬
painted), etc. — Sacristy (entrance from the choir, to the left): Guido Reni,
John the Baptist.
The Cappella Santi Jacopo e Cristoforo, adjoining the right transept,
is embellished with celebrated frescoes, now damaged, yet still very at¬
tractive, with ornamentation showing the indebtednesa of the School of
Squarcione to its study of the antique. The Evangelists on the ceiling are
the poorest, and probably the earliest part of the work. The four upper
eections on the wall on the right are also by inferior artista; the two
highest scenes, representing St. James as a worker of miracles, and St. James
before the king, are by an unknown master (Bono da Ferrara?); central
section, St. Christopher with the Infant Christ, by Bono da Ferrara, Adoration
of the giant saint, by Ansuino da Forli. The paintings on the wall and
vaulting of the recesses of the choir are bv Niccolb Pizzolo, an able Paduan,
who died yonng; the Assumption of the Virgin was probably finished by
Mantegna. By far the most important are the "Pictures with which Andrea
Mantegna completed the cycle between 1453 and 1459. The left wall
presents to us the life of St. James from his cali to his execution. The
lower scenes exhibit greater ability and maturity than the upper, so that
we can almost trace the master'a progress atep by step. The Execution
and Burial of St. Christopher, the lowest pictures on the right wall, sub-
sequently added by Mantegna, are sadly injured. — The large terracotta
altar-relief of the Madonna and saints is by Giov. da Pisa, a pupil of
Donatello (p. 271), but has been spoiled by a modern coat of paint.
On the N. side of the piazza in front of the church is the
entrance (a battlementediron gate; if closed, ring; adm. 9-4, 1 fr.;
Sun. & holidays 9-2, 20 c; on certain high festivals, free) to the —
Madonna dell' Arena (Pl. D, 3), situated in an oval garden
which shows the outlines of an ancient amphitheatre. The chapel,
ohlong in form, was erected by Scrovegno in 1303. Its walls and
vaulting are completely covered with a series of **Frescoes by
Giotto, most of them well preserved (restored by Botti). The period