has its own page now
There was a church here in the 12th century but the building we
see today was begun in 1275. Enlarged by Augustinian monks, the new
church was consecrated in 1331, but before the end of the century had
already been further enlarged. In 1361 Diamante dal Verme paid for the
chancel to be rebuilt, with a Gothic altar. In 1390 the Spolverini
Chapel was built under the supervision of Nicol˛ da Ferrara who had
worked on parts of San Zeno. The church was said to have been a
favourite of Dante during his years of exile in Verona.
Typical Veronese Gothic exterior with added renaissance-era
lancet windows and a pale marble doorway installed in 1424.
A huge but aisleless church with what might be called a
depressed barrel-vault ceiling. There are seven shallow and ornate
altars down each side of the nave. A screen dividing the apse from the
nave was removed in 1602. The current interior derives from a Baroque
1739 by Fra Pellegrino Mosconi. The chancel is still Gothic in effect,
but even here Mosconi raised the floor. There are windows up on the
right but they're blocked in opposite. The side altars now have panels
with the names of artists and subjects, and are numbered in reference
to a leaflet provided, in Italian.
There are some impressive altarpieces by the
likes of Torbido (Saints Barbara, Anthony Abbot and Rocco),
Domenico Brusasorci (a Virgin and Six Saints), his son Felice
Brusasorci (The Crucifixion, small and high up left of the
entrance), and Giovanni Domenico Cignaroli (Virgin and Saint
Thomas of Villanova) from the 18th century.
The crossing is a shallow transept effect with a very deep apse with a
modern decorated ceiling and two flanking chapels entered through
doors. The left side has the organ, the right arm has a very damaged
fresco of the Coronation of the Virgin detached from the wall
outside, with it's sinopia displayed in the
chapel beyond, the highlight 14th century Spolverini chapel, which is
very decorated and retains its Gothic feel (see angel panel right)
with early renaissance fresco work by Gian Francesco Caroto (see
below). These frescoes depict stories from the Journey of
Tobias. There is also a tryptych by him of Three Archangels flanked
by panels of Saint
Lucy and Saint
Apollonia. The central panel is a copy, the original being in the
The Augustinian monastery originally had two. The one that
remains, reached through the door to the left of the church, was
rebuilt by Lelio Pellesina in 1636 (see below right) and is now
used by a school.
The panel with Three Archangels (1520) by
Giovanni Francesco Caroto is now in the Castelvecchio. The painting
over the altar in the Spolveroni chapel now is a copy.
Eight damaged 14th century fresco fragments from the cloister
here are in the Castelvecchio - a Crucifixion, attributed
to the Maestro del Redentore, parts of two panels of the Virgin
Enthroned, two fragments of saints by the First San Zeno Master,
and three heads by the Circle of the Second San Zeno Master.
Predella panels showing scenes from the Life
of Saint Barbara by Nicola Giolfino are now in the Castelvecchio.
Vasari said (of Caroto's work
...having been commissioned by the men who governed the Company of
the Angel Raphael to paint their chapel in the Church of S. Eufemia,
he executed therein two stories of the Angel Raphael in fresco, and in
the altarpiece, in oils, three large Angels, Raphael in the centre,
and Gabriel and Michael on either side, and all with good
draughtsmanship and colouring. He was reproached, indeed, for having
made the legs of those Angels too slender and wanting in softness; to
which he made a pleasant and gracious answer, saying that even as
Angels were represented with wings and with bodies, so to speak,
celestial and ethereal, as if they were birds, so it was only right to
make their legs lean and slender, to the end that they might fly and
soar upwards with greater ease.
Caterina alla Ruota
Via Guglielmo Marconi
A monastery dedicated Santa Caterina just outside
the walls of Verona was demolished in 1517. The Republic of Venice had
ordered the demolition of all the buildings within a mile of the city
walls, resulting in the loss of many religious houses. The nuns moved to
houses here and construction of a new church and the rebuilding of
structures owned by them began in 1563, with the church consecrated by
bishop Girolamo Michele Nichesola
of Teano on 23 January 1564.
church had three altars, the greater dedicated to Saint Catherine, the
others dedicated to Saints Martin and Ursula.
The church and the monastery underwent rebuilding in the 18th century,
with a baroque fašade designed by architect Giuseppe Montanari, The altar
was also rebuilt at this time, to be more monumental.
monastery was restored by the sculptors Angelo Finali, Ambrogio Pagani,
Pietro Maderna and Giuseppe Rangheri, the painter Michelangelo Prunati,
the stuccoist Giuseppe Antonio Galetti and the masters Giovanni Pozzo and
Church and monastery were suppressed by Napoleon in 1820, with the
church reopening for worship in 1848. Various charities and a hospital
have occupied the monastery complex.
The baroque fašade is inhabited by many statues. Above the door is an oval
with Saint Catherine holding a palm and the wheel of her martyrdom.
In flanking niches are statues of two popes. Along the roofline are two
allegorical figures and two saints by Francesco Zoppi.
An aisleless nave with a barrel vault and lunettes.
Mostly16th-century art - eleven canvases of Stories from the Life of
Saint Catherine by Biagio Falcieri, Christ and the Adulteress,
attributed to Felice Cappelletti, a Saint Catherine by Sante Creara,
and The Saviour with San Mauro and San Benedetto by Domenico
The Mystic Marriage of
Saint Catherine with Saints Rustico, Martin, Lucy, Zeno and Fermo (The Seven Saints Altar)
attributed to the Maestro del Redentore (see below right) and The Thirty Bible Stories panel,
both from the early 14th century and now in the Castelvechio.
The Thirty Bible
Stories include some unusual scenes, some from the apocryphal gospels,
including The Virgin praying at the Temple while her companions spin
A still-polychromed statue of Saint Catherine from the
church here by the Master of Sant'Anastasia (see right) is in the
Vicolo Santa Cecilia
Via Santa Chiara
The church of Santa Cecilia was built on the site of the building
now at number 9 vicolo Santa Cecilia. The earliest documents date the
church to the 11th century. Paolo Veronese married, Elena Badile
here on April 26, 1566, she being the the daughter of the painter
Antonio Badile, his first teacher. Suppressed in 1806, the church was
sold to private individuals and in 1854 transformed into a house. From
a door in the corner at no. 9 it's possible to access a small
courtyard where the remains of the Renaissance sacristy and rectory
remain, and the tuff and brick Romanesque bell tower still stands.
The courtly Saints Cecilia, Tiburtius and Valerian
triptych of c.1480 (see below) by Antonio Badile II (1424-c.1507) is in the Castelvecchio.
The Acts of Saint Cecilia say that Valerian was her husband and Tiburtius
Supposedly at the suggestion of the Franciscan Bernardino
of Siena in 1422 a convent of Poor Clares was established here, with nuns
coming from Mantua. Old buildings here were rebuilt from 1425 to 1437, the
year that the church opened, with the facade
completed in 1453 and the altar consecrated in 1454. Full consecration by the Bishop of
Verona, Matteo Giberti, followed on the 21st of March 1536 .
Suppressed in 1810, the complex became a barracks and the
Austrian military warehouse.
In 1860 restored to nuns when major restoration work was started, with
work on the presbytery and a dome built over the high altar.
More minor restorations were carried out in 1897, with the creation of two
side chapels and the removal of floor tombs, and in 1906 there was work
the time as 'aesthetic massacre'. The church was reconsecrated on the 2nd
of February 1907.
The Poor Clares left again in 1965 and in 1974 the complex was bought by
the Municipality of Verona, which converted some of it to public housing.
Following building work in 2017/18 the majority of the complex has been a
youth hostel since 2019 and the church has been used as a cultural centre
Topping the walls either side of the iron gates of the entrance from the
road are two statues, one depicting San Francis and the other Sanit Clair.
The fašade is another in the local brick gothic style. The gothic doorcase
has a lunette with a bas-relief of Saint Clare welcoming and an
inscription dated MCCCCLIII (1453).
An aisleless nave, on the left is a passage that leads to a chapel
dedicated to Our Lady of Lourdes, on the right
there is a door leading to an oratory called the Chapel of the Deposition. The
Chapel of the Addolorata has frescoes signed and dated 3rd August 1508 by
Michele da Verona,
but God the Father, the Redeemer, the Prophet Joshua and the
Evangelists Matthew and Mark are thought to be by Francesco Morone.
The vault in the choir has a fresco of The
Ascension by Domenico Brusasorci
Works now in the Castelvecchio:
A sweet Mystic Marriage of Saint Catherine panel by
Francesco Rizzo da Santacroce (recorded as in the sacristy here, and
attributed to Cavazzola, at the beginning of the 19th century). Cavazzola's Incredulity of Saint Thomas
painted for the convent here, along with two small panels, one
showing The Archangel Michael and Saint Paul and the other
Saints Peter and John the Baptist.
Four panels depicting Saints Sebastian
and Paul, Saints Anthony Abbot and Roch, and a panel each depicting Saint
Bernardino and Saint Clare with devotees, believed to have come from
the church or monastery here, and to be early works by Francesco Morone.
They were said by Crowe and Cavalcaselle to be 'originally part of the
An Adoration panel by Giovanni Francesco Caroto from the church or
A high altarpiece by Brusasorci and works by Paolo
Farinati are also mentioned as being here before suppression.
Via Santa Felicita
The first lay fraternity in Verona
was established here in 1131, with the Romanesque church consecrated on
the 2nd of November 1207 by Bishop Adelardo. The dedication was to Saints
Perpetua and Felicita, martyred in Carthage by Emperor Septimus Severus on
the 7th of March 203. The original wooden ceiling survives, as do 14th
century fresco fragments amongst the exposed brick. The presbytery was
expanded in the 17th century. Suppressed by Napoleon in 1806, with some of
the frescoes removed to the Castelvecchio and the Cavalcaselle
Museum. The church is now a pizza restaurant.
Twenty fragments of fresco 'brutally removed' from the walls here,
depicting saints and martyrs, were sold to the Castelvecchio in 1879. They
include the head of a woman by an artist from the circle of Francesco
Part of a very damaged panel showing the Virgin and Child with Saints
Sebastian, Paul, Roch and Christopher by an artist from the circle of
Nicola Giolfino is now in the Castelvecchio.
Santa Maria Antica
Via Arche Scaligere
The original church here was 7th century,
and adjoined a convent. It was rebuilt in Romanesque style after the earthquake of
1117 and consecrated in 1185. The current building became the private chapel of Verona's ruling Scaligeri
family. Outside is their famous family cemetery - the 14th century Scaligeri Tombs somewhat
overpower this small church. It is enclosed by a wrought-iron fence
featuring ladders, their family symbol, the name originally having been della Scala (of the steps).
A design repeated in the iron work of the sanctuary gate inside.
The exterior has bands of brick and stone with small windows. The
side-door is dominated by the monument to Cangrande I della Scala, friend
of Dante and patron to Giotto, who died in 1329. The equestrian statue of
Cangrande is at the very top - it's actually a copy, since the original
was moved to the Castelvecchio in 1910. It's by an anonymous Veronese
master known as the Maestro delle Arche Scaligere. Below, just over the
door, is the prince's sarcophagus, with his reclining figure, attended by
his dogs. It's the first of the family's elaborate gothic monuments, the rest
having been built in the adjoining family cemetery.
Around 1630 the three-nave interior was rebuilt in Baroque style, but
late 19th century work resulted in the restoration of the original
Romanesque interior. The interior is impressive - bare-stone, plain
columns with square capitals - buff and very antico with
brick-stripe walls (with pebbles) and a small nave and apse. The only
survival of the original building is a fragment of black and white mosaic
floor, to be found next to the altar under a small trap door. There is one
small side chapel with a carved panel depicting the M&C and a decorated
ceiling with a painted dove. There's a copy of Mantegna's Dead Christ
and a fragment of early 14th century fresco in a niche behind the altar (see
Positioned over the apse, a short brick Romanesque tower (with three
bells) with mullioned windows and a brick-covered spire.
7.30 - 12.30, 15.30 - 19.00
The Scaligeri cemetery
The four-sided tomb of Mastino II (Cangrande I's nephew and successor)
which was built between 1340 and 1350 is just inside the gate. He
lies on his bier with an angel at each corner. His equestrian statue on
the spire was replaced by a copy in 1992, the original also being moved to
the Castelvecchio. The even-more-ornate tomb of Cansignorio who died
in 1375 is the work of the Lombard sculptor Bonino da Campione. The tomb
of Giovanni della Scala who died in 1359 is the work of Venetian
stone-cutters and is attached to the wall of the church, having been moved
from the suppressed church of San Fermo al Ponte. The family palace is the
Thanks to volunteers you can now get into the the Scaligeri cemetery,
from June to September, Tuesday to Sunday, 10.00-1.00 and 2.00-6.00.
Tradition has it that this church was built towards the end of the 8th
century, dedicated to Mary, the sister of Annone the bishop of Verona on
his return from Istria , from whence he'd brought the relics of the
Veronese saints Fermo and Rustico. Upon his return with the remains a
terrible drought that had struck Verona ended. Mary earned the name of
consoler after his death and the church was dedicated to her.
Traces of the 12th century Romanesque church
remain. Bishop Tebaldo placed Mary's relics here in 1320, deceived in
the smell of holiness, as Google Translate would have it, maybe
the odour of sanctity sounds better.
Until the 18th century, the procession that took place
during periods of drought of the thorn with which Saints Fermo and Rustico had been martyred stopped here on its way from the Duomo to
This church was suppressed by Napoleon and closed in 1806. The relics of
Santa Maria Consolatrice were translated into the last chapel in the
right aisle of the Duomo, the Chapel of Sant'Agata
The abandoned church was bought in January 1879 by the Evangelical
restored the building and its original orientation (towards the Duomo) and the church reopened on January 6, 1880.
The 14th century tombstone of Dinadato Spinelli is
in the Castelvecchio.
The Virgin and Child with Saints Mary the Consoler and Catherine
(c.1485) by Antonio Badile II (see right) from this church,
probably the high altar, has been in the Castelvecchio sonce 1812.
For Sunday service at 10.30
Maria del Paradiso
Via Gaetano Trezza
The Servi di Maria previous small church of Sant'Apollinare della Peccana
outside the city walls, where they'd been since 1480, was suppressed
and demolished by the Venetians in 1517. A new church was built for them
here and consecrated on the 22nd of April 1519 by Cardinal Marco
The church looked rough, externally,
and remained so even after the first interior work of 1600 and post-plague
work in 1630. Between 1750 and 1754 five side chapels,
the triumphal arch and the main altar were built. The Servi di Maria left
in the late 18th century, when the Venetians abolished orders with less
then 12 members.
In 1782 the church passed to the
Gerosolimitani (Jerusalemites) from the church of San Vitale, which was
prone to flooding. In 1807 the order was abolished by Napoleonic decree
and the church downgraded to an oratory. During this time five statues
were brought here from the church of San Francesco di Paola. In to
1842 the complex passed to the Camilliani who, in 1896 completed the unspecial temple-front facade, built by the engineer Antonio Viola,
and laid the Verona marble flooring. In
the two niches on the fašade are statues of San Camillus and Vitale by
Salesio Pegrassi, and over the door is the coat of arms of the Camillian
order. At the top is a projecting entablature with a Jerusalem cross in
the centre and statues of Saint Zeno, the Assumption and San Matrone by
Aisleless with four altars each side which alternate with niches with
Baroque statues of Saints by Marinali.
The high altarpiece, painted in 1565, is an Assumption by Farinati.
The second altar on the left, dedicated to San Camillo, has an altarpiece
of the Virgin and Child with Saints by Antonio Balestra. The
altarpiece in the last chapel on the left is by Orazio Farinati, the son
of the more famous Paolo, depicting The Souls in Purgatory, the Holy
Trinity, the Virgin and a pope. The last chapel on the right,
dedicated to the Veronese San Metrone, was built in the early 17th century
to house the saint's relics and has an altarpiece painted by Liberale da
A collection of thousands of relics is
kept here, begun by the founding Camillian
fathers and kept in a reliquary room that they created. They brought many
and collected more
Built in 1558, with further work in the 17th century, and partially built from recycled gravestones.
Santa Maria della Scala
Built in 1325 by the Servite order (who had a few years previously built
Santa Maria dei Servi in Venice) on land given to them by Cangrande I
della Scala. The church was consecrated on December 6th 1329 with building
continuing throughout the 14th and 15th centuries. From 1352 a second convent
was built across the via Stella linked by a wooden-roofed passage which
was destroyed by bombing in 1945, and by an underground passage.
During the bombing, in January 1945, the bombs struck the roof, leaving intact the
three apse-end chapels, the altar of the Madonna delle Grazie and the
altar immediately opposite. The church was rebuilt, during which frescoes
were discovered in the apse, and reopened in 1948.
The only original parts are the outer walls as the interior was
almost totally remodelled after WWII, with stout square pink columns set
out from wall. Three chapels of varying sizes down each side. A deep apse
and flanking chapels.
The second chapel on right has a 14th century fresco of
Saints John the Baptist and Zeno with presumed portraits of Mastino II
(son of Cangrande I) and his
wife Taddea da Carrara. The third chapel on the right has a Niccol˛ Giolfino Pentacost.
The Guantieri Chapel (to the right of the apse)
Traditionally said to house the Confalonieri family tomb, it was only in
1907 that this was discovered to be the Guantieri family chapel,
particularly notably that of Paolo Filippo Guantieri di Nicol˛, a mayor of
Florence who belonged to a family of bankers residing in San Marco. His
will stipulated burial here pending construction of the tomb, for which he
left 700 ducats. He left to his executors the choice of iconography. The
execution of the will was opposed by his wife Antonia because of its
legacy of 100 ducats a year for 12
years. In 1343 Giovanni Badile was
hired to decorate the chapel with over thirty scenes from the life of St.
Jerome . The story begins in the upper left and continues on the opposite
side. Separating the two bays are the six prophets, while inside the arch
is a Crucifixion with St. Mary and St. John, later replaced with a
PietÓ . The tomb is pretty spectacular but visibly missing the
three figures from the three niches stolen by Napoleon.
The apse has a high altarpiece of The Assumption by Felice
Brusasorci and a very nice fresco fragment that the church leaflet wants to be by Badile too, or even Altichiero (see
A panel of around 1520 by Liberale da Verona with the Adoration of the
Magi on one side and Saint Peter on the other is now in the
A Virgin and Child with Saint Anne (sitting under a lemon tree
with a dead dragon and three angel musicians) (see right) by Girolamo del Libri of
1510/18 is in the National Gallery in London. It was the central panel of
a triptych. The left wing by Paolo Morando, also in the National Gallery
depicts Saint Roch, the other was painted by Torbido and showed Saint Sebastian but is now missing.
Built between 1343 and 1345 the bell was bought in 1348 in Venice.
Santa Maria di Chiavica
Via Santa Maria di Chiavica
There is said to have been an oratory on this site, founded in
813 by the Archdeacon Pacifico; but the earliest documented mention is to
the 12th-century. Rebuilding work in the 15th century, by the 16th century
it was affiliated with the nearby church of Sant'Anastasia. In 1807,
following Napoleonic suppression, much of the art was moved there, and the
church was returned to worship in 1832, as a subsidiary of Sant'Anastasia,
until 1974 when it was used as a carpentry workshop. Restoration work more
recently. It is now deconsecrated and used for art exhibitions, theatre
The frescoes are by Girolamo Costantini. Remaining or lost are
a Birth of the Virgin and a Nativity by Giovanni Battista
Lanceni. In the second chapel is/was a Saint Francis of Sales and Saint
John Nepomunk by Michelangiola Lanzeni. Also altarpieces by Eduardo
Perini, Paolo Farinati, Pasquale Ottino, Giovanni Francesco Caroto,
Michelangelo Aliprandi, and Francesco Turchi.
A Virgin and Child with Saints Lawrence and Jerome
panel by Giovanni Francesco Caroto, formerly in the Chapel of Saint
Lawrence here, is now in the Castelevecchio.
Santa Maria in Organo
Via Santa Maria in Organo
church now has its own page
Santa Teresa degli Scalzi
Largo Don Giuseppe Chiot
Known as the Church of the Scalzi after the Discalced
(barefoot) Carmelite nuns who
built it. The order came to Verona in 1663 and was initially housed in a Dominican
monastery. They then bought some buildings and the city gave them some land,
and in 1666 they began
building a church and convnet, to designs by Fra Giuseppi Pozzi.
Construction wasn't completed until 1750, with the facade finished even
later. Initially dedicated to the Virgin of the Annunciation and the
Archangel Gabriel, the order rededicated the church to their patron Saint
Teresa of Avila.
Octagonal with three
polychrome marble baroque altars: the two side ones have twisted columns,
grey in the left one, red on the right. The organ is over the door and the
other four walls each have a confessional. The high altarpiece is an
Annunciation, with God and putti observing from the clouds, an
early and still quite baroque work (1697) by
Antonio Balestra. The left-hand altar has a painted sculptural group, the
right-hand a modern painting, featuring Saint Theresa I imagine, who was
celebrating her 500th anniversary when I was here in 2015.
The convent and prison
The convent was suppressed on 8 July 1806 by Napoleon and was
used as a prison from 1883 to 1945. Known as the Carcere degli Scalzi, the
prison buildings were destroyed during WWII, on the 11th October 1944,
during an allied air raid on a nearby barracks. The remains of the prison,
mostly just the fašade, were finally demolished in the 1970s. The photo
(see right) was taken just before this demolition, the church is in
The street where
the church stands has been named for Don Giuseppe Chiot who was parish
priest at San Luca
and the prison chaplain here, remembered for his impartial humanity
regardless of the prisoner's political affiliations. One of those he
famously comforted was Galeazzo Ciano, Mussolini's son-in law and
one of a group of six members of the Grand Council of Fascism who
went on trial on the 8th of January 1944 as traitors to fascism at
Castelvecchio, were found guilty, and were executed by firing squad on
January 11th 1944. Several films have been made about this episode. A
monument to Giuseppe Chiot stands outside the former prison site, the work
of sculptor Vittore Bocchetta who got to know Chiot during his two
detentions in the prison in 1943 and 1944.
Piazza XVI Ottobre
A Benedictine church was built here in the 11th century,
adjacent to their cemetery, called Santo Sepolcro. In 1178 it was acquired
possession of the Knights Hospitaller and the complex made into a hospital
for pilgrims. In 1342, they acquired the relics of Santa Toscana which
were placed behind the main altar. Restoration work from 1482 left it with
two aisles and an unfinished third aisle. The church was consecrated by
the Bishop of Verona on November 29, 1489, when the church's named changed
from the Holy Sepulchre to Santa Toscana. No work since except for
restoration done after the bombings of World War II.
Contains works by Liberale da Verona and a
sculpture group of The Lamentation, or Christ being placed in
the Sepulchre of 1502/4 by Giovanni Zebellana.
A three-panel Predella di Santa Toscana
by a follower of Liberale da Verona is now in the Castelvecchio.
and Sante Teuteria e Tosca
The original church on this site was built in the 5th century which makes
it, along with the adjacent Chapel of Saints Theuteria and Tosca, part of
the oldest Christian complex in the Veneto. The
surviving Romanesque elements
date from a 12th century rebuilding, consecrated on 12th March 1194,
after the earlier church was destroyed by the 1117 earthquake.
Work in the
16th century made the church taller, as is shown on the exterior by the
yellow plaster on the top half of the church, above the stone and brick
layers of the original church, This work also reduced the interior to a
single nave and removed the balconies for the female members of the
congregation. The church was very damaged during a bombing raid on 14th
After the attractive exterior and campanile the interior is somewhat dull
- aisleless with
what might be called a depressed barrel-vault ceiling,
and four largish side chapels, the frontmost pair domed and
more ornate. A Giotto-ish processional Crucifix of the 14th century
in the first chapel on the right. Works by Felice Brusasorci (an
Adoration of the Magi), Turchi, Cignani, Ligozzi and some remains of
12th /13th century frescoes.
Finished in 1110 and made of brick, tufa, and cobbles taken from the bed
of the Adige.
Monday-Friday 8.00 to 12.00,
15.30 to 19.30
The attached chapel of
Sante Teuteria and Tosca (see
here in the 5th century and consecrated in 751 making it one of the oldest
church in the Veneto region. Originally Greek-cross shaped, as it was a
funerary chapel, it attained its current form when it became the Bevilacqua family chapel in the 14th
century. It is below ground level, with
its floor two meters lower than that of the church of Santi Apostoli
because that was the the street level in Roman times. In 1160 during
reconsecration the bodies of the two saints were found, it is said, and
placed in a red marble tomb. To the right of the altar is the tomb
of Francesco Bevilacqua, consigliere to Cangrande II.
Presented for exhibition and sale in late 2018, The Book of
Saints Theuteria and Tosca is also lusciously illustrated in a
book/catalogue called Four Remarkable Manuscripts from the Middle Ages,
with text by Christopher de Hamel. The manuscript was, he says 'surely
made' for this chapel and 'most probably' written for Bartolomeo della
Scala and his wife Costanza of Antioch. The sale was the first appearance
of the manuscript for four hundred years. It had passed to the convent of
Santa Maria delle Vergine in Campo Marzio in the late 14th century.
Lives of the Saints
The above-mentioned manuscript is the longest and most detailed
account of the lives of Saints Theuteria and Tosca. Theuteria was an
English woman of noble birth who the English King Osgualdus took a fancy
too. She, having already dedicated her life to Christ, rejected him, so
turning the king against her and her father. After initially hiding in a
fortified tower she finally fled to Europe, ending up in Verona, where she
met and spoke with Tosca, an anchoress living in in a cell outside the
city, who is said to have been the sister of Proculus, the Bishop of
Verona. Meanwhile the Devil had made King Osgualdus send agents to find
Theuteria. When she heard this she fled back to Tosca, but the hermitage
had no door, only a small window. But miraculously Theuteria was born
aloft and through the window, so that when the agents arrived they found
no trace of her, and the window had been covered in spider webs - the
scenes illustrated in a spread from the above manuscript see right.
The two women became famous and their hermitage much visited, with their
relics responsible for many miracles after their death.
Santi Nazaro e Celso
Largo San Nazaro
earlier church on this site existed by the 9th century, but being
outside the city walls it was burned down during the Magyar invasion of
951. The building of this church and its Cassinese Benedictine monastery
began on the 13th of October 1464. Building was completed on 6th April
1466 and an inscription inside records the date of consecration as
February 14th 1483. More work in the 16th century - the interior was
restored in 1510 and in 1575 the chancel was extended and
barrel-vaulted and frescoed by Paolo Farinati. In 1688 the enclosed
baroque courtyard was built, along with its monumental entrance archway.
In 1770 the monastery was abolished by
decree of the Venetian Senate, but the church and monastery were
immediately purchased by Benedictine nuns from San Daniele, who settled
here, carrying out renovation work on the monastery and remaining until
the Napoleonic suppression of religious orders in 1806-10. Over the
door in the lunette is a fresco of The Virgin with Saints Nazario and
Celso by Paul Ligozzi from 1601.
A nave with aisles five
bays long with large square columns.
In the left aisle the second chapel has a Virgin in Glory with Saints
John the Baptist, Anthony Abbot, Benedict and Blaise, signed and dated
of 1543, by Antonio Badile. The page bottom right is said to be the young
Paolo Veronese, Badile having been
Veronese's teacher (and later father-in-law) and the painting having been
made during Paolo's apprenticeship.
The fifth chapel has a Virgin
and Child with Saints Peter, Paul and Margaret by Domenico Brusasorci,
with a lunette (Christ Entrusts the Keys to Saint Peter) by him
The left arm of the transept is the spectacular chapel of San Biagio (Saint
Blaise) (see below right) built to house the saint's relics, which
were given to the monastery in 1174 by a German crusader along with those
of Saint Juliana. He had, it is said in the leaflet provided by the
church, 'found them in the orient'. The chapel's decorative conception and most of its frescos,
are the work of Giovanni Maria Falconetto, begun March 7th 1488, completed
1528. His work was
completed by Domenico and Francesco Morone between 1497
and 1499, with contributions by Cavazzola and Bartolomeo Montagna. This
chapel saw conservation work in 1996.
here is the 1519 altarpiece by
Francesco Bonsignori (The Virgin and Child in Glory with Saints Blaise, Sebastian
and Juliana, who is chaining the devil.) (this may now be in the
Castelvecchio) with a slightly later predella by Girolamo dai Libri (The Miracle of Saint Blaise
(where he saves a boy choking on a fish bone whilst being taken to
jail), The Martyrdom of Saint Sebastian
and The Martyrdom of Saint Juliana) of 1526. Too far away to
Inside the arch above (and hence invisible as the chapel is
fenced off) is an Annunciation by Cavazzola. Marble altar
tombs of Saints Biagio and Juliana by Bernardino Panteo. Martyrdom of two
The apse is frescoed by Paolo Farinati (and signed and dated 1575) also four
paintings by him of Stories of Saint Celso. In the right transept is the door to the Sacristy, which has 15th
inlaid walnut cabinets and a triptych by Felice Brusasorci (Virgin
with Saints Peter, Paul, Augustine and Benedict).
The right aisle second altar has an Annunciation and lunette of
Adam and Eve by Paolo Farinati. The fourth an Ecce Homo by
Flacco, a pupil of Badile 1529-75. The first aisle has a movement-filled
Conversion of St Paul by Bernardino India.
The paintings on the organ shutters, above the door, are by Giovanni
Battista Brusasorci, Domenico's son, and depict
Venetian style and built by Francesco da Castello in 1550/51.
Old guide books speak of Ancient Christian wall paintings in chapel/caves
carved into cliffs behind the church - The most ancient pictorial
remains in the Venetian territory - and a tomb which has never been
A pair of painted limestone figures of Saints Gregory and Ambrose from
c.1320/50 which were seen in the chapter house here in 1800, but which may
have originally been displayed elsewhere. The fašade is the most likely
place, but their unweathered condition suggests that they have always
lived indoors. They are now in the V&A in London.
A panel fragment, from a polyptych painted for the high altar here in
depicting the top halves of Saint Blaise and a Bishop Saint (San
Mauro?) by Bartolomeo Montagna
(who also contributed to the frescoes in the chapel of San Biagio here) is
in the Castelvecchio.
Four more fragments, showing a Dead Christ Supported by Angels and
three pairs of saints (two pairs full length) are still here
(in the right transept?) There were originally seven panels, the central
one being a Virgin and Child, now lost.
Large fresco panels of The Baptism of Christ with four roundels of
the Evangelists, by Franceso Morone, are in the Castelvecchio.
The Feast in the House of Simon of 1556 by
Paolo Veronese (see above) was painted for
the refectory here. It is the earliest surviving of his big feast scenes
and is now in the Galleria Sabauda in Turin. A copy by Sebastiano Ricci,
made in 1716-18, is in the British Royal Collection.
A Virgin and Child in Glory with Saints Blaise, Sebastian and Juliana
by Francesco Bonsignori (1514/19) formerly in the Capella di San Biagio
here, is (probably!) now in the Castelvecchio. As is a Mystic Marriage of Saint Catherine by Pasquale Ottino.
An antiphonal from this church illuminated by Girolamo dai Libri
and his father's workshop is
now in the V&A's National Art Library (MSL/1866/4929) in London. A
date of inventory of 1492 is noted on the first leaf.
Santi Siro and Libera
Legend has it that Christianity was introduced
to Verona when Saint Syrus celebrated mass here, having stopped off on the
way to becoming the first bishop of Pavia. Legend also states that he was the
small boy who gave the five loaves to Jesus during the miracle of
the multiplication of the loaves and fishes. The dedication to Saint Libera was added in the 14th century. Now part of the Roman Theatre
complex, the church was founded in the 10th century, then passed to the
Brotherhood of the Most Holy Body of Christ in 1517. The church was later
much altered, especially in the 17th and 18th, so the fašade has a baroque staircase but the original 14th century doorway and porch.
Very baroque - there are four nave altars and two side chapels. The
first on the left has Virgin and St Gaetano of 1751 by Giandomenico Cignaroli, who
is buried here. Also from the 18th century are the very decorated high altar
the German-made wooden choir stalls behind (1717-1720) by Andrea Kraft, Petendorf and Siut, and an
Annunciation painted by Ridolfi.
Four damaged fragments in tempera on panel by Francesco Morone,
showing the Virgin, Saint Paul, Saint Anthony of Padua and
Saint John the Evangelist are in the Castelvecchio.
partially polychromed statue of Saint Liberata by a sculptor from the
circle of the Master of Sant'Anastasia is in the Castelvecchio.
A group called Verona Minor
Hierusalem seem to have taken over the touristic visit times for this
church, and four more nearby. The times they publicise are
Thursday, Friday, Saturday, Sunday 10.00 - 5.30.
I'm not sure how this will work, with the
church being in the Roman Theatre complex, but am happy to learn!
(An enquiring email went unanswered.)
Via Santissima TrinitÓ
church and monastery has been here since the late 11th century, built
by Vallombrosian friars, a stricter order on Benedictines, from around
1073. The church was consecrated on 12th January 1117. The chapel north
of the chancel remains from this first Romanesque church, as does the
campanile. Parts of the portico date from the 12th to the 16th
centuries, a period during which the church underwent various building
works. In the 14th century Abbot Bartolomeo lengthened the building and
commissioned the Trinity Supported
by Angels in the new apse, as well as the Coronation of the Virgin with
Saints by Turone di Maxio now in the Castelvecchio museum.
under the portico dates from enlargement in the 16th century. The Vallambrosians left in 1441 and from 1536 the complex was used as a refuge
for women. A loggia with a grating was built for them in the church. The
church had fallen into ruinous disuse by the 19th century.
and one of the east-end chapels was destroyed during bombing on 6th April
1945. The late 20th century removal of whitewash led to the subsequent restoration
of discovered frescoes.
Entry is through an odd large porch (see
above) suggestive of a small cloister.
The interior is long and narrow with a deep organ gallery over the door and much
old fresco work. There are a pair of flanking altars with frescoes as you
emerge from under the organ gallery. On the left is a very damaged
Mystic marriage of Saint Catherine. On the right, one under the
gallery, are works by Domenico Brusasorci and Felice, his father.
of 14th century frescoes on the left hand wall as you approach the east
end, dated 1359, and over and in the chancel. The top row on the left wall
depicts Stories from the Life of Christ, the lower Stories from
the Life of Saint Martin.
The Annunciation on the arch over the
apse is said to be by Martino da Verona, the courtly Apostles in the
vaults the work of Jacopo da Verona. Abbot Bartolomeo is depicted beneath
Gabriel in The Annunciation, the whole wall seemingly built
asymmetrically to fit him in (see below right).
A pair of sweet little transepts flank the apse. The irregular shape of
the right-hand one is said to represent the extra pressure imparted on the
right-hand side of the cross by Jesus' shoulder. On right hand-wall opposite
the wall of frescoes are three unframed canvases, two by Brusasorci and
one by Jacopo Ligozzi.
The Trinity Polyptych by Turone di Maxio (see below)
signed and dated 1360, depicting the Trinity flanked by Saints Zeno, John
the Baptist, Peter and Paul, from the refectory of the convent here, but
probably originally on an altar in the church, went to the Castelvecchio
in 1812. It had two more
panels depicting The Annunciation, which are now in a private
A Crucifixion fresco panel (now in three
parts) by the Circle of Altichiero, from the cloister here, has been in
the Castelvecchio since 1879.
Augustus and the Sybil, a rare work on panel by Gianmaria
Falconetto, which looks very like a stage set, now in the Castelvecchio,
came from the refectory of the convent here.
Part of the original building, the tower rests on a foundation of stones
from Roman ruins.
Vicolo Scaletta Santo Stefano
Tradition has it that this church was built in the 5th century,
and was the cathedral of Verona from 412 to 750, erected on
the burial site where 40 Veronese martyrs were interred, and
that it was destroyed by Theodoric. But the original church here was
likely a cemetery
chapel housing the relics of St Stephen. Following this rebuilding in the 8th century it
would have been rebuilt again in the 10th century as, being outside the
city walls, it was burned down during the Magyar invasion of 951.
Following the earthquake of 1117 it was rebuilt yet again. The apse was remodelled in the 14th
Flat-roofed with chunky square piers dividing the nave from the
The right aisle has a baroque chapel from 1619-21 with gilded
mannerist stucco attributed to David Reti. This is Cappella Varalli, or The Chapel of the Innocents, built to
celebrate the housing of
the bones of five early bishops (Florentius, Vindemalis, Maurus,
Andronicus and Probus) and the relics of the forty martyrs of Verona,
put to death by Diocletian,
in the crypt here, and the children murdered by Herod. The altarpieces, from the left, are
The Forty Saint Martyrs of Verona by Alessandro Turchi (known as
Orbetto), The Massacre of the Innocents by Pasquale Ottino, and
The Five Bishop Saints of Verona by Marcantonio Bassetti. Ottino
also painted the panels in the stucco of The Assumption and
In the left aisle are three much less interesting
interconnected chapels, the central one being deeper.
By the stairs down
to the crypt on both sides are 13th century monochrome frescoes by
Battista del Moro of St Stephen Ordained as a Deacon by St Peter
and The Burial of St Stephen. The same artist frescoed the lunette
above the side door.
On the right at the top of the wide staircase up to the very-frescoed crossing is a
14th century polychromed statue of Saint Peter Enthroned brought here by
the Austrians from the
nearby demolished church of San Pietro in Castello. It is attributed to
Rigino di Enrico. The apse has an
unusual raised vaulted ambulatory possibly dating from the 10th century
and a bishop's throne which may be from the 8th. The frescoes generally get later
as they get higher. To the left of the altar is a fine Coronation of
the Virgin above an Annunciation, both by Martino da Verona
from the late 14th century, amongst other earlier bits from the 13th. The illusionistic and somewhat strange frescoes in the dome and lateral
spaces, with saints' attributes emerging from clouds, angel musicians and
fighting archangels, (see below) are by Domenico Brusasorci (c.1533).
In the right transept is a panel
depicting Virgin and Child with Saints Peter and Andrew by
Giovanni Caroto (1543). In the left is Saints Helping Christ with the
Cross by Domenico Brusasorci (1543).
Fragments of 12th and 13th century frescos and elements of the
original church are to found in the 10th century crypt. If it's open. Many
bishops of Verona are buried here, along with the forty martyrs put to
death during the reign of Diocletian. Also the tomb of Galla Placidia,
the daughter of the Emperor Valentinian III, the granddaughter of her more
famous namesake and probably the last Western Roman Empress known by name.
An early mosaic floor taken from this church is now in the Archaeological
Museum up the hill, but I couldn't find it there.
A large panel depicting the Virgin and Child with Saints John the
Baptist, Jerome, Francis Placidia, Maurus and Simplicio by Nicola
Giolfino are now in the Castelvecchio.
A group called Verona Minor
Hierusalem seem to have taken over the touristic visit times for this
church, and four more nearby. (My friendly enquiring email was ignored.)
The times they publicise are
Thursday, Friday, Saturday 9.30 - 5.30
Sunday 12.30 - 5.30
I assume that the churches will be open at other times too.
The procession of the
Duca de la Pignata
during the carnevale of 1884
and ruins to be followed up
Mystery church in via Venti
San Francesco al Corso
in the fresco museum
Pasquale Ottino Assumption of the Virgin in Castelvecchio.
Santi Cosma e Damiano
Fresco fragment of Virgin and Child with a worshipper in
Castelvecchio by Stefano da Verona.
Antonio Badile's Madonna di Piazza dei Signori now in Castelvecchio
San Bartolomeo della Levata
V and C with Saints Nicola and Andrea and a Worshipper by Giovanni
Badile, in Castelvecchio.
Saints Francis and Bernardino half panels and Saints
Bartolomew and Rocco full panels from an altarpiece here by Domenico
Morone is now in Castelvecchio, since 1812. Also there are Saint
Francis Recieving the Stigmata and half lengths of Saints Francis
and Bartholomew by Francesco Morone. 14.7.2015
Nuns from here moved to Santi Nazaro e Celso in late 18th
Sebastiano Ricci David Declines Saul's Weapons in
San Francesco di
Father Giovanni da Patern˛ of the
Order of Friars Minim of San Francesco di Paolo came to Verona in 1593
with the aim of bringing his order to the city. With
the financial backing Counts Massimo and Agostino Giusti and Giulio de 'Cagalli
he built a church in 1596 in Campo Marzo dedicated to San Francesco
di Paolo along with a monastery, restored and expanded to the mid-18th
century. In July 1806 the
monastery, which then had only six monks and two lay brothers, was
suppressed. Part of it's cloister is
now the library of Frinzi University.
Nicola Giolfino Virgin and Child called The
Madonna of the Jasmines, from a side altar here, in the Castelvecchio
San Giacomo alla
A triptych of the Virgin and Child
with Saints Blaise and Sebastian by Antonio Badile II has been in the
Castelvecchio since 1812, as has another depicting the Virgin and Child
with Saints Peter and James by his studio.
Had the Virgin and Child with Saints Rocco and Sebastian (The
Maffei Madonna) by Girolamo dai Libri, which was in the Maffai chapel
here, but since 1812 is in the Castelevecchio. The same family had
commissioned his famous
Nativity with the rabbits for their chapel in Santa Maria in Organo,
now also in the Castelvecchio.
Virgin and Child Enthroned with St Zeno and St Nicholas, which was on
a side altar here dedicated to San Zeno, is now in the Brera.
Suppressed and demolished in 1806
Francesco Morone's Saint Catherine with a Donor panel, from the
sacristy here, now in the Castelvecchio
St. Nicholas of Tolentino al Paladon
Dom Morone two fresco panels depicting four saints, in
Originally an oratory/parish
church probably Romanesque in design, dedicated to Saint Sebastian, with a
hospital, built in 932 Originally. It passed to the Jesuits 8th
February 1578. On April 24, 1591, the Jesuits asked the Venetian Senate of
the city to enlarge the church, which was still unfinished. They agreed,
but with the interdict of Pope Paul V against the Venetian Republic of
1606, the work was suspended, never to resume.
Following the abolition of the Jesuit order in 1773, the city of Verona
purchased the complex from the Venetian Senate for 30,000 ducats in
Closed by Napoleon, the convent was used as a library and gymnasium.
During the Austrian occupation the church was reconsecrated. The Jesuits
returned in 1842, to run the church the gymnasium. They remained openly
until 1848 and clandestinely until 1866, with the retaking of Verona by
Italian troops the church was again deconsecrated.
The church building was almost completely destroyed by allied bombing on
4th January 1945.
The library reopened with rebuilding after the war. Marble blocks from its
fašade were used on the church of San Niccolo.
Giambattista Tiepolo Episode from the Story of the Maccabees
an early work, and part of a high freeze, now in Castelvecchio.
Convent of the Capuchins
A pair of panels of The Annunciation, maybe organ doors, by Claudio
Ridolfi in Castelvecchio. Also St Anthony Reading by Marcantonio
Bassetti and The Herald Angel by Claudio Ridolfi.
19 14th c fresco frags by the
Second San Zeno Master in Castelvecchio.
Built in 1194 in Borgo Ognissanti can
still can be seen today amongst Military buildings, it was rebuilt by
Benedictine nuns in 1743. Church and convent suppressed in 1806 and used
A Flagellation of Christ an early work by Alessandro Turchi in
Very damaged large fresco fragment of Saint James Major
between Saints Jerome and ?Lawrence
attributed to Domenico Morone, in the early part of his career, now in the
Castelvecchio. and a frag of Saint Seb from second half of 15th C
Santa Maria della
Had a Baptism of Christ (also known as the Baptism of
the Ibis) over a side altar, painted by Girolamo dai Libri, which has
been in the Castelvecchio since the church was suppressed and demolished
Santa Maria della Ghiara (or Ghiaia)
dating from 1173 Frati Umiliati The monastery was suppressed in
1570 and entrusted in 1591 to Teatini who remained until the abolition by
the Venetians in 1769, when they transferred to San Nicol˛
Had the huge Adoration of the Shepherds by Moretto,
commissioned by Mario Averoldi, a relative of Bartolomeo Averoldi, Abbot
of the Umiliati friars, now in the Gemńldegalerie in Berlin, which also
had a companion panel, the The Virgin in Glory with Saints Elizabeth
and John, destroyed/missing since 1945.
Santa Maria della Vittoria
(The chapel to the right of the high altar in San
Tomaso Cantuariense contains a painted wooden crucifix by an unknown
artist of the 14th century brought here from the suppressed church of
Santa Maria della Disciplina
(now the Vittoria cinema))??
Santa Maria della Vittoria
Fed up with paying rent to the monastery of
Santa Maria in Organo the order of Gerolomini (Hieronymites) needed to
build a church of their own. Construction began in 1487 and was completed
in 1512 with the church dedicated to Santa Maria delle Grazie, which
became known as della Vittoria Nuova. Today nothing remains except a small
cloister and a well-head in a building that currently houses the
University of Verona's Faculty of Economics.
Saint Jerome between Saints Paul and Francis of Assisi,
from the chapel of Saint Jerome here, by Liberale da Verona, is now in the
Francesco Morone's Trinity Altarpiece also in
the Castelvecchio, since 1812, was from the Fumanelli Chapel here.
Had the late and verdant Madonna and Child with Saint Joseph,
the Archangel Raphael and Tobias (The Madonna of the Parasol)
(1530) (see right) by Girolamo dai Libri over the high altar. It's
been in Castelvecchio since 1812. A predella panel of The
Visitation is in Grenoble.
Also a Lamentation, a very early work by
Paolo Veronese which was in the sacristy here, now in Castelvecchio. (They
call it a
Deposition.) Removed from the church to Paris in 1797 and returned to
Verona in 1816.
Had the Virgin and Child with Saints Peter and Andrew, (also
known as The Madonna of the Oak Tree) a late work by Girolamo dai
Libri in the Castelvecchio since 1812.
12th c within roman walls on right side of Adige suppressed by napoleon