Sto. Stefano. VERONA. 35. Route. 203
Romano. — Near the 1st altar on the left is the tomb of Bishop Galesio
by Sansovino, and above it is au '''Assumption by Titian, painted about 1543.
'Without the majestic grandeur of the Assunta of the Frari (p. 267),
this fine composition is striking for its masterly combination of light and
shade and harmonious colours with realistic form and action1. — C. & C.
The arches of the handsome Cloisters rest on double columns of
red marble in two stories, one above the other (entrance to the left
of the facade, then turn to the left again opposite .the side-entrance).
To the N. of the choir is a corridor leading to S. Giovanni in
Fonte, the ancient Baptistery, of the 12th cent.; the font is embel¬
lished with *Reliefs of about 1200. The adjacent Vescovado contains
the Biblioteca Capitolare with its precious MSS. ^palimpsests),
among which Niebuhr discovered the Institutiones of Gains.
In Veronetta, on the left bank of the Adige, to which the Ponte
Garibaldi leads (toll 2 c), is situated S. Giorgio in Braida (PI. F, 1;
if the principal gate is closed, entrance by side-door on the N.), recon¬
structed in the 16th cent, under the superintendence of Sammicheli.
The well-proportioned interior contains some admirable pictures.
On the W. wall, over the door, Baptism of Christ, by Tintoretto;
1st altar on the left, St. Ursula and her companions, the Saviour above,
painted in 1545 by Franc. Caroto; 4th altar on the left, "Madonna with
two saints, God the Father above, three angels with musical instruments
below, by Girolamo dai Lib'ri (1529); 5th altar on the left, St. Cecilia, by
Moretto. To the right in the choir the Miracle of the Five Thousand, by
Paolo Farinato; to the left, the Shower of manna, by Fel. Brusasorci, both
painted in 1603. High altar-piece, ''Martyrdom of St. George, by P. Vero¬
nese, a masterpiece of the highest rank: — 'Paolo treats the scene as
much as possible as if it were one which actually happened, restrains the
pathos within the bounds of moderation, avoids any excess of realism,
and thus retains the power of exhibiting his gorgeous colouring in the
most triumphant abundance1. — (BurckhardVs '■Cicerone').
The Via S. Giorgio leads hence to the S.E. to the old cathedral
of Sto. Stefano (PI. G, 1), probably erected in the 11th cent, on
the site of a still earlier church. The interior has a flat roof and
a raised choir, with the episcopal stall at the back; to the left a
figure of St. Peter (14th cent.).. The crypt contains the tombs of
the old bishops.
Nearly opposite this church is the Ponte della Pietra, built by
Fra Giocondo (p. 200); the first two arches date from the Roman
period. At the bridge begins the ascent to the Castello S. Pietro
(PI. G, 2; permission obtained at the commandant's office at the
entrance), the ancient castle of Theodoric the Great (p. 200). It
was entirely remodelled by Galeazzo Visconti in 1393, destroyed
by the French in 1801, and refortified by the Austrians in 1849.
At its base, immediately below the bridge, are the remains of a
semicircular antique Theatre (PL G, 2), excavated in the court of a
private house , and interesting to antiquarians.
On a low eminence in front of the theatre stands the little
church of SS. Siro e Libera, in which it is said the first mass was
read in Verona. The tradition is probably owing to the ancient
vaulting at the back of the altar.