The Condottiere Raimondino De'Lupi, His Tomb in Padua and Its Influence

on the Memorials of Other Condottieri in the Veneto*

The Veronese 1omb of Cangrande della Scala. who died in 1329. i, one of sever:11 1ombs of 1yra.n1s carved in 1he founecnlh ccn111ry in Nonhcrn 11aly which culmina1es wi1h 1he ponrai1 of the deceased in full annor as1ride a horse. all bur ready for baule. O1hcrs include the tomb of Maslino II della Scala. comple1cd in ¼:rona by 1351: 1he 1omb of Bernabo Viscon1i. complc1ed in Milan by 1363: and the 1omb of Cansignorio dclla Scala, begun in ¼:rona before 1375. ' TI1c aim of this essay is 10 demonstrate that begin­ning in the fourth quancr of the founccnth century les., powerful men who occupied the role of condoniere induced 1he crca1ion of sculptural memorials equally grand in .c:,lc and with a similar stress on military imagery.

The first condouicre 10 do so seems 10 have Ix-en Raimondino de'Lupi. Marchese of Soragna. Clearly his successful li fe as a military ,nan who amassed great ,vcallh during his career led him and his anists to rival in size and in imagery the funerary models produced by the anists of the: tyranb. In tum. Raimondino ·s monumcm. which once s1ood in 1hc Oratory of St. George in Padua. cs1ablished an imponan1 prcceden1 for 1hc monuments of 01her eondouieri in 1hc \'cnc10. bo1h funerary and conune111ora1ive. precisely because of its immensity and i1s allusion~ to war. It is. in fac1. probably only because Raimondino ·s 10111b was almos1 complc1ely desiroyed after 1he Napoleonic invasion of 1797 1ha1 ii has become largely forgoucn and 1hat i1s role in 1he developme111 of la1er monuments has not been properly recognized.

Raimondino's family is firsr documented with ccnainty in Soragna. a small village about 20 kilometers northwest of Parma. in the 1hineen1h century. ' Though we do not km)w when Raimondino was born . we can begin to trnce his ascendent political and military career in 1325. In that year. 1ogcthcr wi1h his bro1hers and cousins . Raimondino sided with the fac tion of Pope John XXll. 3 In 1332. shonly after 1he entry into Italy of King John of Bohemia. who was favored by the Pope. Raimondino panicipa1cd in warfare. Riding along with other Pannesans behind King John ·s son, Charles IV, against armies from Ferrara. Mantua. Verona and ~l ilan. Raimondino helped rout and disperse 1he enemy. By way of celebration. Charles had himself knighted. and he made Raimondi no and others knights as well.

In Dceember of 1336. the Scaligeri ordered the Lupi Castle at Sorngna destroyed .' By 1his rime. Raimondino apparently had become ensconced in Padua at the coun of 1he Carrarcsi. where he lived as a Guelph exile from Parma. In Padua he was entrusted with ,.,,rious responsibilities. and so his exile was less harsh. In fact. by 1337 he was a

•An earlier version of this paper wa:. prcscmcd at the S1xt1."t"nth Annual Conference of th< CcntC'r for Mcd1cvJJ and Early Rcnaiss-1~ Studic-~ in B,nghanuoa. Ne\lo ) 'or$: on Oc1obcr 16. 198"2. In 1b present fonn. 11 i, ckdicatcd to Jame~ Bed..

con<louiere for the Carrarn family. But even 1hough he fough1 under 1heir wagon-emblazoned standard. he was pem1i11cd 10 use his own personal insignia . prc.,umably because of his valor. For ins1ancc. in 1338 when the Scaligcri lay siege to a castle in 1he Vicen1inc region. Raimondi no. along with 1wo Olhers. came 10 the defense of the ca.tic and succeeded in repelling the ossailants.'

In 1346. when Luchino Visconti took power in Parn1a. thereby weakening the , trcngth of 1he nobles and usurping their castles and villages. all of the Lupi despaired of ever returning to Soragna. But knowing 1hnt Panna and its territoric, belonged to the Empire. 1hcy turned for assis-1ancc 10 Charles IV, now King of 1hc Roman, and of Bohemia. On September 2 1. 1347. Charles. who was friendly with the Pope. , igncd a diploma in Prague inves1ing the Lupi with 1he Marche.,a10 of Soragna and other lands. which he took from Parma.

Soon after lhi,. Raimondino went into 1hc services of Charles. from whom he rccci"ed 1hc investiture of other propenies in 1350. Charles named Raimondino hb coun­sellor. familiar and secretary (cmuiglierl' . famigliare ,, Ui/ret/lrio). and in 1353 he gave him power 10 deal with his affai" concerning the Venetians. Paduans. Veronese. Fer• rarcsc. Florentines. Pcrugians. Siencse. Aretincs. Tuscans and Lombards.6 In that same year Raimondino. acting as ambassador for Charles. helped forn, a league bc1wccn the king and the Venetian Republ ic.' and in Florence he served as a medimor between Charles and the Florentines.• While in Tuscany he was captain of the Florentine army. in which role he successfully rCCO\'Cred Barga ror the Republic .•

In 1355. after Charles had become Emperor. he began to give Raimondino an annual income of 700 gold Rorins. Six years later he gave this same allowance to Raimondino ·s brother. Guido. and his five sons. Then. in 1366. Charles issued a diploma declaring as citizens of Mantua. Parma. Cremona and Reggio nor only Raimondino. but 1hrce of his nephew, and one of his cousins. as well as his counsellors. household servants and 1able companions. In addition. he freed :,II of these people of every tax which could be imposed on whate,•er propenies they might have in 1hose 1erri1orics- his i,urpose being to compensate the Lupi for all they had suffered while in exile from Parma. ••

Al one point Raimondino seems 10 have fallen prisoner to the Milanese. but just when he may have been cap111rcd is a mauer of dispute. 11 In any event. one source suggests 1ha1 he was released once 1he peace with Milan was signed on November 10. 1370."

On May 11 , 1372 Raimondino drew up his will in Mantua . This document reveals that Raimondino was by 1hen a very wcahhy man with a number of propenies in Man1ua . 11 Other sources show that he had propeny in Reggio and Cremona a, well as in Panna. 14 In addition. the will states Raimondi no ·s in1ention 10 endow a ho,pi1al

9

dedicated 10 St . Lucy and St. Catherine. ,vhich he had erected in Mantua .

·fo\, ard the end of hi~ life. Raimondino w:1, found among the imperial leader:, in the retinue or Charles IV in Udinc. '' But soon thereafter. still unable to return to Pamia. he mo,ed 10 Padua where he had relati ves.•• Documents ~ho,, thal he was li\ling in 1hat dty near Ponte Molino in 1376. Moreover. in April of that year he began to acquire ne:irby lands from none mher than Francesco da Carrara himself." Shonly after 1ha1. he prepared 10 erect and endow a mortuary chapel dedicated 10 St. George near Padua ·s Ba,ilica of San Antonio. ,,hich was built 10 contain his ex1~oordinary tomb.'" He died on November 30. 1379.

All that remain, of Raimondi no ·s tomb today are the sarcoph:igu<. measuring 85 cm. wide by 218 cm. long. and 1wo fragments of the baldat'chino. The sarcophagu$ is supponed by four columns with folia te capitals which are mounwd on the backs of four couchan1 wolves. the wolf being the family emblem of the Lupi (Figure I). 11,e body of the sarcophagus con<bts of large squares of marble set in ,im1>ie. molded frames. three on each long side. one at each end. ·n,e peaked lid of the ,:orcophagus is dccornted with c:orvcd panels also set within simple. molded frames. Most of the panels o r the lid eo111ain vegetal motifs. but the central panel on each long ,ide also holds a shield on which is carved a rampant wolf.

111c comJX>si1ion of Raimondino ·s funerary complex is kno,\n lo us from cwo C)\:•'' itncss ac:-coums and three funhcr 1cx1~.19 Ac-cording to the tcxb. the tomb !)lood in the middle of a chapel on :, three-stepped pla1fom1 . The baldacchino which coverc-d ii was supponed by six columns place-cl equidistantly. three on each side. The vaults of the baldacchino were ~unnountcd by a large pyramid with two wolv..:::- at it~ apex whi('h nearly 1ouc.-hed the ceiling. Around the ba,c of the pyramid , 1000 ten over-life-si,ed figures­one a woman. nine men in annor placed three on c3ch long .,idc. two on ca,·h ~nd. The men had shield~ and wore crested helmets and bre:i>t plates. the lauer probably deco­rntcd " ith a rampa111 wolf. judging from the surviving fragment,. a torso and the pelvic section of two of the statues (Figures I and 2). All ten figures stood on pedestals which bore 1hcir name.,. and they ,,.rerc polychrorncd as well as decorated with ,ilvcr and gold. The in,criptions recorded b)' Polidoro. Ponenari ruld others show that the ten included Raimondino. his parent, and his male kinfolk· -specifically his brother, and his nephew,. some of whom were also condollicri . :o

\Vhal b noteworthy about this commission. given the grandiose scale of the,: tomb. is that it crunc from a con<lotticrc . not a tyran1 or king. That the creation of such a monument was pem1it1cd in a chapel on the cemetery or the Ba.,ilic:o of Padua clearly ,hows the shift in impon:mce of 1hc condollierc in both secular and ecclc~ia~tic circles. SurCI) it was this imprc~ivc work of art \\hich inspired later tomb, of memori:ob. equally grandiose and militaristic in theme. 10 be cre<;ted in che Vcncto in the memory of other condotticri. whether within or in from of other churches.

The fi r>! tomb in the Vcneto for a condouiere which may lwve been inspired by Raimondino ·s tomb is that of Veuorc Pisani. \ 'tuorc Pbani was a condouicrc for the Venetian Republic. His cro"ning victory on behalf of the Republic came during the War of Chioggia between Venice and Genoa (1378- 81). The Genovese had defeated the Venetian, at Pola and then had taken Chioggia. which

/0

enabled them 10 blockade Venice. At 1ha1 point. foam forced the Genovese Oecc to surrender by blocking the channel at Oiioggia and starving it 001. This broke the back of the Geno,·cse auack and. 1houth the war did not end until the following year. from 1h:11 tim.;- forward \ '<,nice controlled the l..cvantinc trade. 11

Pisani died in August. 1380." On the twenty-secondo~ that month his body arrived in Venice. An extraordinary crowd 1unicd om. and with great popular panicipation he was buried under the noor of the now demolished \'<,.nctian church of San Antonio. Since his will of April II. 1380 mentioned no tomb. his funerary monument apparently \\:IS

commissioned by someone o ther than himself af!er his death . \\~ lters suggests that Pisani ·s family selected an ani,1 and paid for the execu tion of the tomb. As )~t.

however. there is no documentary evidence as to who the sculpto r might have been or exactly when the monument may have been carved.

Vcttore Pisani ·s tomb originally was a wall monumenl. l)c.s1royed with the demolition or San Antonio in 1810. we know it~ cornp0sirion 1oday primarily from n drawing published in 1754 by Grevembroch ( Figure 3a). According 10 the drawing. the monument consisted of a sarcophagus and superstructure. The sarcophagus. which rested on the backs of c(>uthant lions supponed in turn by wall brackets, was dccornted with figures in niches. These included the Virgin and Child in the central niche and probably St . Victor (the patron of the deceased) and St. Anthony Abboll (the patron of the church) in the lateral niches. The supcrswc­ture " as composed of an over-life-sized standing portrait or Pis.rni which still survive,. a painted backdrop depicting t,i..•o now.unrecognizable scr11cd tigures. and a canopy in the form of a hexagonal P)'ramid sunnounted by an angel. Perhaps the pyramidal canopy derived from the baldaccbino of the Lupi tomb. In any case. Pisani himself. standing in a full ,uil of armor. i< reminiscent or the Lupi warriors (Figure 3b). There is a notable difference . however: Pisani. whose head is carved separate!)' in white marble. originally held in his right hand a standard. che o·e.,il/um S. Marci. not a sword and/or a shield. Thus . he appears the relaxed conqueror no longer in need of brandishing weaponry."

The next largc->eale tomb of a condouicre in the Vcncto is that or Paolo Savelli in S.M. dei Frari in \ \,nice. Savelli. a member of the noble Roman family of that name. was condottiere firs t for Charles Ill. King of Sicily. then for Gian Galeazzo Visconti of Milan . and finally for the Venetian Republic during the principality of Michele Steno. Whi le engaged by Venice. Savelli took both Verona and P:,du:i. But on October 3. 1405 during the siege of Padua he died of the plague. Twelve days later his funeral was aucnded by the Doge and numerous notables in Venice. According to Sansovino. it was the Republic itself which erected the equestrian statue in the Frari in onler to perpetuate Savelli ·s memory. 14 Since Sansovino rcpons ebcwhcre that Savelli covered the costs for the construction of the vaults of the Frari. it is only liuing that the general be buried in that church."

The Savelli monument is a wall tomb as well (Figure 4). Below is foond a stone sarcophagus on which arc carved Gabriel and the Annunciate Virgin at the comers. and a Madonna and Oiild in the center. Above is found tile equestrian group. the figure of Savelli made or wood. tile figure of the horse made of wood. cloth and , tucco. with trappings of metal. Savelli carries a shield on his back. and

originally he carried a hammer in his hand similar 10 the one with which he was buried. lb<Jay beneath the grime one can see 1ha1 the monument was once painted in naturalistic colors. For instance. the inside of the horse ·s mouth is pink. But according 10 one scholar at one ti me it apparently also was gilded.

Janson has suggested that the equestrian component is of wood because it came from the catafalque used during the funernl. and then was simply added 10 the sarcophagus after the ceremony. 26 No mention is made of an equestrian statue in the descriptions of the funeral. however. Con­sequently. \\biters implies 1ha1 wood may have been used by the anist (who is undocumented) simply for practical reasons: wood is light and a large statue made of it would not be as apt 10 cause the cantilevered tomb 10 dislodge from the wall as would one made of stone.

Obviously. because of the equestrian motif. tho Savelli monument represents more than the continuation of the sculptural glorification of the condouicrc as seen in the Lupi and Pisani tombs. Since the fonncrly dismounted general is now on horseback. as were the Scaligeri and Bernabo Visconti. it appears 1ha1 the sculptural protot)'f)C of the condouiere in the Veneto has now fused with 1ha1 of the tyrant. This fusion probably reflects the increased esteem with which the condouiere now was regarded in Nonhcrn Italy. It may also reflect the influence, or even the author­ship. of Jacopo della Quercia. as has been argued. 27

11,e last monumental sepulchral complex of a con­douicre in the \~ne10 10 be discussed here is that associated wi1h Conesia Marassi da Sarego in S . Anastasia in ¼!rona. According 10 Sansovino. Concsia ·s name was appropriate. for he was said to have been "cor1essissimo. affabilissimo e di f(mto spirito," all of which made him auractivc to the Scaligcri." Conesia served as ambassador within Italy for 1ha1 family. and in this role Mastino della Scala once sent him 10 Gian Galeazzo Visconti. who then was Duke of Milan. Because of his valor and worldliness. Antonio dclla Scala gave Conesia his sister. Lucia, as a wife. which brought Conesia ·s family 10 Verona from Viccnia. Conesia was Captain General for Antonio, who gave him many lands and villas. reinvesting him with the Castello di Sarego in 1381. When he died. Concsia was taken with solemn ceremony by all of the populace 10 be buried near the high altar of S. Anastasia. In his will of 1386. Conesia desig­nated one thousand golden ducats for the erection of a tomb. 19 In Sansovino ·s words. the chapel in S. Anastasia wJs "superbamente e magnificameme fabricara ,Jail" Jam• iglia. • In fact. Cipolla and others have convincingly argued that the detai ls of the complex were specified by Concsia ·s son. also named Cones ia. in his two wills of 1424 and 1429.'0 But in the son's hands. the monumenl. whose

I The date.~ uc those pro,·idcd by John While. For illummions and C'OmJncn,s. SC<: his An ti111.I Arc·hitawr(' in /,al\·: 1250-1400. Ballimore. 1966. pl<. 149. 190. 191 and 192 and pp. 314-1°S , nd 396-98.

2 See I. AffO ... Albero dc'Marchc~i Lupi. ·· in A. Pc1.Zana Suma dt'II" ('iulufl Am,ia: !346-14()(). appcndiJt X. Pa.nna . 1937. 63. fot lhl: :1bo\'c and for his belief 1ha1 texts suggc51ing 1ha1 1hc Lupi origin3fly came from Jcru~lem or \bl.sci should be d1S<.-ounlcd.

3 Aflo. 68.

J Aflo. 69.

author is undocumented . apparently became a cenotaph. noi a tomb. and Conesia remained buried in the floor of the chapel.

Once more. the monument. which is of polychromed stone . is set into the wall (Figure 5). The sarcophagus, which rests on brackets. is decorated with five niches originally filled with five lost statucues, said to have been of bronze. A rocky terrain is emulated on the lid and at the ends of the sarcophagus. Across this summary landscape strides the horse bearing a hatless Conesia in Renaissance annor who. according 10 Sansovino. once carried a sceptre in his hand.'' Behind the equestrian group stands a pole which suppons a marquee . the sides of which are paned I ike cunains by grooms in annor all' a mica at lef1 and right. " The pole is sunnounted by an armored youth who holds a sword and shield . Below. statues of Conesia .{ifs and Pandolfo di Sarcgo kneel in prayer.

The entire complex. except for the kneeling figures. is enclosed in an elaborate frame outside of which arc paint• ings completed in 1432 . The paintings. which provide an approximate date for the project. include an Annunciation above. flying angels in 1he middle section . and St. Dominic and St. Thomas Aquinas below. TI1us. the complex is a lavish. multi-media exercise.

The glorification of the condonicre did no1 stop with these works . Once the condouiere had been elevated 10 the back of a horse in his funerary monument. as in the previous two examples . it was but a shon step 10 the extraction of his equestrian por1rai1 from the tomb proper and the placement of it on a pedestal out-of-doors as a public commemorative statue . Later. in the fifteenth century. precisely this was done in Padua with Donatello's eques1rian s1a1ue of the condouicre. Gauarnelata (1445-53). and in Venice with Vcrrocchio ·s equestrian statue of the condouierc. Collconi (1481-96)."

The tomb of Raimondino dc'Lupi took iL< shape because of the patron ·s life as a condouiere who moved in royal and monied circles. On the one hand. Raimondi no ·s experiences on the battle field guided his anists icon• ographically, while on the other. his acquired wealth en­abled these anists 10 work on a scale not yet seen in the tomb of a Capiain General in Italy. Once carved. the mili1ary imagery and monumental dimensions of the Lupi tomb set a preccden1 in 1he ¼!nc10 for the tombs of other condouieri. Eventually. the equestrian mOlif fonnerly seen primarily in the funerary monumcn1s of the 1yrants of Northern Italy insinuated itself into the Nonh Italian monu­ments of the condoniere. Thus. the way was paved for the rebinh of the large scale public commemorative statue of Generals. or other leaders. which has continued 10 punctu­ate public squares 10 this day.

S 8 . Gonah. u, Basilicu di$. Anromo dt'J.amo t'd ,lho1ra1t1. II. P:.du•. 1852. 80. doc. LIil. hereafter Gon1:.1i. GonL:ui docs nrn slate cxoctl)' when Raimondino k-fl So,-agna for ~ood or when he arrfr~d in P:idua.

6 Affo. 69-70.

7 Sec L. Grouo dell ·Ero. -Lovati. Lupati, Lo\•i, Lupi. H in C ,:,ini storici Jul/,: fi111TiJllit' ,ti Pudtwo t' s11i m<>r1m1mw JrlrUni\',rsiui. ed. A , de .\fan:hi, Padua, 1842, 145.

8 Aflo. 70.

II

9 Go1":a1i, II, 80 :md .'\(l'l,. 70 Sec :1ho \1. \ ,ifl.tn1 . Cron1td. 01x1k II. Chap. 76 and Book Ill. Ch.if) .l.S BJ.Jt.a hOO bttn ,1ndc-r 1hl· ,,cic or the Ca"~:mi until ,1 .. rtto, Cr)

10 Afto. 70 71.

II Gnic1c> ddl'Eru. 145. "r,1c, 1h.a1 RaunonJ1M "a, ,·Jptur(J ul 1.156 A. Pc11Jn.1, Swri11 ddla t'1ll11 ,Ji Pamu,: /J./6-/.100. 1\tm\;i. 1xn. 52. JI)() ,-1,c:,. the )~ar l3S6 htH "')4c, 1ha1 on._ ,oorc-t -.1a1\!, th.11 11 " ·" ,\n1oni1l Lupo who ,,~ capluh."d. not Ra1111ondino. addin~ th,11 ,11II another '°4-11\'t' :,.uitc, that R:iimonJino "a-. ""llh l'gohno Oon,a$.i .u the tune 01 lht Jlleicd capcure Gon,ah. II. SO. fl'C" no di1e 1,,r lhc ,:a1,curt"

12 Gon1a11. II. 80. S« al~ GO \(rc1. Swnu 1/rll,, mmu, lnn,,r1,1t1 f'

H'l\lff(".u-. \~n,-re. 1786--1)1, Jo-.· MIX~XI.\, "hKh Gvn1a1t ,1tc,

IJ For 1h,e "ill, "CC A. S.a«u-n. ··Noc;, ,u All1.:tucro. •· 11 Smm,. Ill. 1963. J(ll) ... 11. dtx·. IX . hcrc;if1,;r S.1rtun

1.a Crouo ddl'Er,). IJ6.

I.S Gon,a1,. II, !iiO.

16 Cro110 d<ll"EIO. IJ5

17 Grt.1Uo Jcll'Ero. 1.&6.

18 h>r 1hc rdc,;1n1 Jocu,m:ni.., '-1."C S.mnn. 291 ff

19 For the dc.scripc,on of the mmb. ,cc M. Sa.,,onamla. U~·llm d,• mcu:mjl(t,\ ommnenti< r(',ttc· nntutu f><u/1u: . cd A. $(,ari111, ein:1 d1 C•~tcllo. 1902. 33: V, l\)!idoro. U' rrl1g1mr mrmonr. \~ni1."<". 1590. J7: A. ~cnari, l)dlt1Jrhc111I J, 111'/om. Padua. 1623. 4l'U<. Gon.1A1h. 11. 78-79. doc. LIii and doc DXL\111.

20 S« (;. and 8. Ga1Jt1, C""'"''"" C'c1m1rru. ('(f , \ ~1nhn ancJ G blomc,, C111a d1 C:btctlo, 19.ll ./"''"im. foe the OO,cnlurc, c,( Ra,mon~ dino\ ncphc\loS Antonio ,1nJ SmWIM:. "ho "en;- condouu:n ror 1hc Cammi fami ly. Simone also w-;1, podc~,a of Padua for ..e,l·r.d )"Can..

21 1:or .i ,\1mrnar)' of 1he W"dr of Ch108$,•a. ~c 1hc l:.nado1,.,,Jw lwlm1111. X. Milan. 1931. 132 The Gcn,o,c-.(' ,1,,1rrcnJe,~ :u (luo£$.1,1 on J1int

2,. 1330

22 ~ follo..-.ini fact-. r-:i...-Jmi: P1..am and tu, tomb Ml! (rum\\' \\ot1cn. U., Jnd111ra 1·mr..1c11l(1 t,:(1/tn, /J{X)../.160. II. \\:ni('(", 1976. 201. 1,,'3:(

118.

2\ The ,1.1tui.· 1:,. 213 cm high, It t~•rrtmly i-. located 1n SS. G10\;inm c P..oio ,n Venice whcrc 11 "'''" hrou~ht 1,1,hen San Antonio 1,1,m, <k1nol• "~,J in 1810

24 S« I- ~"'°',no.Dr/Ir ,-r,f(mt' rt dt" fat ti Jr/Ir fami(hr 1llt1J111 J' ltnlra. \'i~~1J. 1609. 316 For 3 bncf J1"("uss100 of the 1omb and the 1t1cr.arurt ,,n 11. \CC al'4l \\bllec'\, II. 229 :\0 \\biters. nocing 1h:u Samo,·ino is noc 1nf,1ll1ble. J"I01nh 0011h.11 u,uall)' the family of lhc dce<3...cd p.t1d (oc

,o~h lntlflUlnCnh.

25 f S.m-.o\ mo. lt'11nw nit(/ 11111111,_umw "' ,i11ghlclft' ,lrfc-1111,, m XIII l,lm. \~nic-c. 1581. fol. 65,.

26 Sn- U \\' Janson. Thr Sct1lp111rr of /)(Jf¥1telln, Pnnct"Con. 1957. 158.

27 Jxopo ,,klla Quc-r(i3 created :1 "ood, "tK"CO and lu'ltn ~ 1unerJf) ,taluc of the Sienc'<' «:ondouu:rt Gian Tedesco 1n aboul IJ9S The -.1.11Ut:" remained ,n the Ca1hcdrnl of Siena unlil 1506 \\,hen 11 ""as ,k,1royt-d b) tJ1..- 'fyran1 of Su:na. Pandolfo P,em1cci. S« \V, ¼kn1iner. "The f.que,tri:in S1a1u..- of P:,olo Savell, in lhe Frati ... Art Q1mr1,•rl_\. XVI. 1953. 281 92 for an :1rt;urncm 1ha1 dclla Quercia 111\0 cm1tcd the S;I\C'lh 1omb. For the'°'' q;uuc or Gian Tode~. -.« C. Vi1'n.n, le \'ire clr'11m (nf"llrntt plmm, .u,ilu,ri t' ,mh1trttorl. II. ed. G. M1lat1csi. t,1~,rc-ncc. 1878. 110 .1nd n()IC 2. Ek)·<>nd the~ o( th1~ piiper arc 1hr Tu....,;.1n monument\ n'ltnl1onrd ~) J.an!>On. 157-58

2~ Thi, ani.l tl4hcr biograph1c-;1I dJIJ an: from Sanso, 1no. v,11, <N''S"'"· ll7--JS

30 C Cipolla, Rfr·t-rdu· Hr1rid1,• 1111t,11w 111ln Chiesu di S A1kHWSit1 ,n IC•n•tt1. An:hl'io \i:-nc-(O. XIX. II. 1880. 226. n,, 2.

ll M) i.k'-Cnpltoo of the monumc-nc 1, bbcd oo tha1 of \\Ohc-1'), I. 2,S.1-.SS. \I.ho lf"-'IUdc<ii 3 fC\IN. oi tht' 3.flnbut,on h1~IOC") of 1hr monumcot. F« 1he S=m~o,,n0cirniion. "'-~ 001c 2.S. abo,c.

32 On 1hc :innor. !oe."C fan,on. ISM ff .. \\,ho al\O <iipcc:ul3h,"tl th.It 1hh 1,1,71\ a ~~cnotaph

3.1 1--N 1llu,tr-Jll0f\\ and hric-f conuncn1,. \tt: E Hartl. //or,H'_\ ,( Italian Hc·1Jmnmtf't' --tn. 2nd edition. ~c" Y«k. 1979. 24X fr. u.nd J2J ff. R«au-.r of the funct3!) a,p«h ,n the ba...\C. Oonttello's monument of G.1namc:l.11.1. "ho,~ buncd nc.ub) in the- Bbilit'a of S.an Antonio. caft

bC' rcgMJcd .b a «nQIJph, S« E. P.1nolsky. Tomb Smlpturr. Nt.,. \o<l. 196-1. 85.

Fig. I. Sarcophagus from the tomb of Raimondino de "Lupi (d. 1379). Padua. Ormory of St. George (photo: Edizioni di Comunir3 for Ros,i of Venice).

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Fig. 3a. Drawing by Jan Grevcmbroch of lost tomb of \l:uorc Pisani (d. 1380). Fom1crly in Venice. S. Antonio (photo: Alfieri).

Fig. 2. Fragment of anthropomorphic rinial of 1he 10,.1 baldacchino of 1hc tomb of Raimondino dc'Lupi (photo: Edizioni di Comunita for Ros,i of Venice).

Fig. 3b. l'l>rtrni1 of \l:ttorc Pisani (d. 1380) from his lo.t tomb. Fom1crly in \ \:nice. S . Antonio. "°" in S .S. Gio"anni c Paolo (pho10: Alfieri).

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' Fig. 4. Monument 10 Paolo Savelli (d. 1405). Venice. S.M. dei Fmri (pho10: Alinari).

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