208 Route 35. VERONA. Tomb of Juliet.
257. Entombment; 267. Girol. dai Libri, Holy Family; 272. Franc. Caroto,
Adoration of the Child; *240. Paolo Veronese, Portrait of Gualtieri, 1556;
above the door, Bonsignori, Madonna with saints (1484).
V. Room : '293. (above the door) Girolamo dai Libri, Adoration of the
Child; 296. Paolo Moranda, surnamed Cavazzola, Christ and St. Thomas;
307. Cima, Madonna and saints; 274. Paolo Veronese, Music, a fresco
transferred to canvas; |!277. Cavazzola, Madonna with two saints (1522),
'the finest production of the Veronese school in the first quarter of the
16th century'; 276. Girolamo dai Libri, Madonna and saints, 1530; 278.
Same. Madonna and saints in a landscape.
VI. Room: 334. C. Crivelli, Madonna and Christ (a youthful work);
331. Turone, Altar-piece, of 1360; 332. Early Veronese School, Marriage of
St. Catharine; 341. Pisano (1), The Virgin Mary in the Garden; 339. Turone,
Scenes from the Old Testament in thirty pictures on a golden ground; 344.
Giacomo Bellini (father of Giovanni), Large Crucifixion; 347. Benaglio,
Altar-piece; *318-320. Cavazzola, Passion (1517), the best being the Descent
from the Cross.
We return hence through the 5th and 6th rooms, and enter (to the
right) the — VII. Room: Nothing noteworthy. — VIII. Corridor with
engravings. — IX., X., and XI. R.: Nothing of importance. — XII. Room
(to the left of the 11th) : Frescoes by Martino da Verona, Giolfino, and Paolo
Veronese. An adjacent room without a number contains two large pictures
of scenes from the history of Verona: P. Farinato, Battle of the Veronese
against Fred. Barbarossa at Vigasi in 1164; F. Brusasorci, Victory of the
Veronese over the inhabitants of the banks of the Lago di Garda in 849.
— XIV., XV., XVI. R. : Nothing important.
Outside the Porta Vittoria (PL E, 5) is the Cimitero, with a
Doric colonnade and lofty dome-church. The summit of the ped¬
iment is adorned with a marble group of Faith, Hope, and Charity,
by Spazzi. — An avenue leads hence along the Adige to the Rail¬
way Bridge, which affords a fine view of the town and its environs.
On the right bank of the Adige, within a closed garden (visitors ring
at the gate facing them, 2-3 soldi) in the Vicolo Franceschine, a side-
street of the Via Cappuccini (PI. D, 6), is situated the suppressed Fran¬
ciscan Monastery, where a partly-restored chapel contains a rude sar¬
cophagus in red Verona marble, called without the slightest authority the
Tomba di Giulietla, or '■Tomb of Juliet' (fee 25 c). The whole scene is
prosaic and unattractive. Shakespeare's play of 'Romeo and Juliet' is
founded on events which actually occurred at Verona. 'Escalus, Prince
of Vemna' was Bartolommeo della Scala (d. 1303). The house of Juliet's
parents, see p. 206.
To the E. of the Ponte delle Navi lies S. Paolo di Campo Marzo
(PL F, 4), which contains Madonnas with saints by Girolamo dai
Libri (3rd altar to the right) and P. Veronese (right transept).
Farther to the N.E. is S. Nazzaro e Celso (PL H, 4), built in
the Renaissance style, with traces of the Gothic.
The Cappella di S. Biagio (in the transept) contains damaged frescoes
by Falconetto (processions of Nereids in the dome), and an altar-piece
(Madonna and Saints) by Bonsignori (1519). The apse is adorned with
frescoes by Bart. Montagna of Vicenza (history of St. Blaise). In a side-
room to the left is a Baptism of Christ by Cavazzola. The two pictures on
the 1st altar to the left, representing SS. John the Baptist and Benedic-
tus, Na/.arus and Celsus, are also by Montagna.
A fine *View of Verona and its environs, the Alps and the
distant Apennines, is obtained from the Giardino Giusti on the
left bank of the Adige (PL G, H, 3 ; always accessible ; ring at a gate
on the right; fee 50c), containing a few Roman antiquities, but
chiefly noted for its numerous and venerable cypresses, some of