b. Left Bank of the Adige. VERONA. 41. Route. 253
b. Left Bank of the Adige (Veronetta).
The Via Leoni ends at the iron Ponte delle Navi (Pl. F, 4)
which was erected in 1893 on the site of two stone bridges destroyed
by inundations of the Adige in 1757 and 1882. It affords a good
survey of the choir and transept of San Fermo, and also up the river
to the Castello San Pietro (p. 255). — A little way above the bridge,
on what was formerly an island, stands the spacious church of San
Tommaso (Pl. F, G, 3, 4), without aisles, and with open roof, con¬
taining a flne altar-piece by Girol. dai Libri: SS. Sebastian, Rochus,
and Job (last altar on the right).
Just below the bridge, on the Lungadige Porta Vittoria, is the
*Palazzo Lavezzola Pompei (Pl. F, -5), erected by Sanmicheli about
1530. It now belongs to the town and since 1854 has contained
the Museo Cívico (open in summer 9-4, in winter 9-3, on holidays
from 10 a.m.; adm. 1 fr.), which has been enlarged and rearranged
since 1904. Director, Prof. P. Sgulmero. No catalogue.
Grodnd Floor. In the three front rooms to the right of the entrance
are prehistoric antiquities from the lake-dwellings of the Lago di Garda,
from the country round Verona, and from the Eugansean hills, and Román
antiquities from the province of Verona. — In tbe I. Court, Román altars
and tombstones; in the passage into the II. Court, Medieval sculptures
and architectural fragments. The two adjacent rooms on the right contain
natural history collections (fine fossils from Monte Bolea). — Inthell. Court,
Román architectural fragments, inscriptions, and marble sculptures.
The "Pinacoteca or picture-gallery, on the first floor, contains works
chiefly of the Veronese school. Veronese masters: Stefano da Zevio, Ma¬
donna in a roae-garden; Giov. Badile, Madonna and saints; Girol. Benaglio,
Madonna and saints; Franc. Benaglio, Madonna; Libérale da Verona, Ador¬
ation of the Magi, St. Sebastian, Descent from the Cross; Franc. Bonsignori,
Madonna, Madonna enthroned with saints (148Í); Giov. Maria Falconetto
Legendary scenes; Nice. Giolfino, Madonna; Franc. Carota, Madonna and
Adoration of the Holy Child (early works), St. Catharine, Christ washing
the disciples feet, with the Madonna and David in the clouds Tobías
and the three archangels, Holy Family (under Giulio Romano's influence) •
■/ranc: Morone, Tnnity with John the Baptist and Mary, Madonna St
Lathanne and the donor; "Girol. dai Libri, Adoration of the Child, with
richly detailed landscape, Madonna enthroned, with SS. Rochus and
Sebastian Baptism of Christ, Madonna in clouds, with SS. Andrew and
Peter, Holy Family with Tobías and the ángel (fine landscape; 1530);
Cavazzola, Holy Family (early work); Sf.Bonaventura.Christ and St. Thomas
with Descent of the Holy Spirit and Ascensión in the background, Fiv¿
scenes from the Passion, from San Bernardino, 1517 (Scourging of Christ
hk ¿ri3«,"0Wned wltb thortt8> Gethsemane, Descent from the Cross,
with the Adige and the Castello San Pietro in the background, Bearin?
ot the Cross), Madonna with aDgels, saints, and donor (1522), also from
aan Bernardino, the master's last work, recalling the school of Ferrara
in its colouring; Franc. Torbido, Tobías and the ángel. — Also numerous
miniatures by Libérale da Verona, Girol. dai Libri, and others, and frescoes
Dy Martino da Verona, Franc. Morone (Baptism of Christ, with medallions
ot the Evangelista, Madonna with four saints), and others.
Venetian masters: Jac. Bellini, Crucifixión (restored); "Carlo Crivelli,
Madonna and angels (an early work); Giov. Bellini. Madonna (an early
work); /. Veronese, Portrait of Pasio Guarienti (1556), Madonna with saints
and donors, Entombment; Giov. Butt. Zelotti, Allegory of music (fresco). —
f tí6 \TB alS° * feW Dntch and Germán works (Style of Alldorfer, Portrait
ot the Vicar Kolb). — Two síde-rooma contain engravings, and medallions
by Vitt. Pisano and others.