229. But at the date when the Cavalli entered the service of the great Milanese family, the state of parties within the walls had singularly changed. Three years previously (1271) Charles of Anjou had drawn together the remnants of the army of his dead brother, had confiscated to his own use the goods of the crusading knights whose vessels had been wrecked on the coast of Sicily, and called the pontifical court to Viterbo, to elect a pope who might confirm his dominion over the kingdoms of Sicily and Jerusalem.
On the deliberations of the Cardinals at Viterbo depended the fates of Italy and the Northern Empire. They chose Tebaldo Visconti, then a monk in pilgrimage at Jerusalem. But, before that election was accomplished, one of the candidates for the Northern Empire had involuntarily withdrawn his claim; Guy de Montfort had murdered, at the altar foot, the English Count of Cornwall, to avenge his father, Simon de Montfort, killed at Evesham. The death of the English king of the Romans left the throne of Germany vacant. Tebaldo had returned from Jerusalem with no personal ambition, but having at heart only the restoration of Greece to Europe, and the preaching of a new crusade in Syria. A general council was convoked by him at Lyons, with this object; but before anything could be accomplished in the conclave, it was necessary to balance the overwhelming power of Charles of Anjou, and the Visconti (Gregory X.) ratified, in 1273, the election of Rudolph of Hapsburg.
230. But Charles of Anjou owed his throne, in reality, to the assistance of the Milanese. Their popular leader, Napoleone della Torre, had facilitated his passage through Lombardy, which otherwise must have been arrested by the Ghibelline states; and in the year in which the Visconti pope had appointed the council at Lyons, the Visconti archbishop of Milan was heading the exiled nobles in vain attempts to recover their supremacy over the popular party. The new Emperor Rudolph not only sent a representative to the council, but a German contingent to aid the exiled archbishop. The popular leader was defeated, and confined in an iron cage, in the year 1274, and the first entrance of the Cavalli into the Italian armies is thus contemporary with the conclusive triumph of the northern monarchic over the republican power, or, more literally, of the wandering rider, Eques, or Ritter, living by pillage, over the sedentary burgher, living by art, and hale peasant, living by labor. The essential nature of the struggle is curiously indicated in relation to this monument by the two facts that the revolt of the Milanese burghers, headed by their archbishop, began by a gentleman's killing an importunate creditor, and that, at Venice, the principal circumstance recorded of Jacopo Cavalli (see my notice of his tomb in the "Stones of Venice," Vol. III. ch. ii. § 69) is his refusal to assault Feltre, because the senate would not grant him the pillage of the town. The reader may follow out, according to his disposition, what thoughts the fresco of the three kneeling knights, each with his helmet-crest, in the shape of a horse's head, thrown back from his shoulders, may suggest to him on review of these passages of history: one thought only I must guard him against, strictly; namely, that a condottiere's religion must necessarily have been false or hypocritical. The folly of nations is in nothing more manifest than in their placid reconciliation of noble creeds with base practices. But the reconciliation, in the fourteenth as in the nineteenth century, was usually foolish only, not insincere.
VERONA AND ITS RIVERS.12
231. The discourse began with a description of the scenery of the eastern approach to Verona, with special remarks upon its magnificent fortifications, consisting of a steep ditch, some thirty feet deep by sixty or eighty wide, cut out of the solid rock, and the precipice-like wall above, with towers crested with forked battlements set along it at due intervals. The rock is a soft and crumbling limestone, containing "fossil creatures still so like the creatures they were once, that there it first occurred to the human brain to imagine that the buried shapes were not mockeries of life, but had indeed once lived; and, under those white banks by the roadside, was born, like a poor Italian gypsy, the modern science of geology." … "The wall was chiefly built, the moat entirely excavated, by Can Grande della Scala; and it represents typically the form, of defense which rendered it possible for the life and the arts of citizens to be preserved and practiced in an age of habitual war. Not only so, but it is the wall of the actual city which headed the great Lombard league, which was the beginner of personal and independent power in the Italian nation, and the first banner-bearer, therefore, of all that has been vitally independent in religion and in art throughout the entire Christian world to this day." At the upper angle of the wall, looking down the northern descent, is seen a great round tower at the foot of it, not forked in battlements, but with embrasures for guns. "The battlemented wall was the cradle of civic life. That low circular tower is the cradle of modern war and of all its desolation. It is the first European tower for artillery; the beginning of fortification against gunpowder—the beginning, that is to say, of the end of all fortification."
232. After noticing the beautiful vegetation of the district, Mr. Ruskin described the view from the promontory or spur, about ten miles long, of which the last rock dies into the plain at the eastern gate of Verona. "This promontory," he said, "is one of the sides of the great gate out of Germany into Italy, through which the Goths always entered, cloven up to Innspruck by the Inn, and down to Verona by the Adige. And by this gate not only the Gothic armies came, but after the Italian nation is formed, the current of northern life enters still into its heart through the mountain artery, as constantly and strongly as the cold waves of the Adige itself." … "The rock of this promontory hardens as we trace it back to the Alps, first into a limestone having knots of splendid brown jasper in it as our chalk has flints, and in a few miles more into true marble, colored by iron into a glowing orange or pale warm red—the peach-blossom marble, of which Verona is chiefly built—and then as you advance farther into the hills into variegated marbles very rich and grotesque in their veinings."
233. After dilating on the magnificent landscape viewed from the top of this promontory, embracing the blue plain of Lombardy and its cities" Mr. Ruskin said:—
"I do not think that there is any other rock in all the world from which the places and monuments of so complex and deep a fragment of the history of its ages can be visible as from this piece of crag with its blue and prickly weeds. For you have thus beneath you at once the birthplaces of Virgil and of Livy—the homes of Dante and Petrarch, and the source of the most sweet and pathetic inspiration to your own Shakespeare—the spot where the civilization of the Gothic kingdoms was founded on the throne of Theodoric; and there whatever was strongest in the Italian race redeemed itself into life by its league against Barbarossa; the beginning of the revival of natural science and medicine in the schools of Padua; the center of Italian chivalry, in the power of the Scaligers; of Italian cruelty, in that of Ezzelin; and, lastly, the birthplace of the highest art; for among those hills, or by this very Adige bank, were born Mantegna, Titian, Correggio, and Veronese."
234. Mr. Ruskin then referred to a series of drawings and