Architectural work unfinished, in the cell where the saint once lived along the left aisle, there is now a considerable Lamentation wooden life-size, style and fifteenth-century author uncertain, with a strong expressionist gestures and faces of the characters that surround the Christ died.
XVI century frescoes adorn addition, the ribbed vault of the chapel next door. Opposite, on the right side, it opens as to form a transept, the chapel of St. Tuscany, with frescoed vault flowered with four rounds within which you can see St. Bernard, St. John the Baptist, Blessed Henry from Bolzano and holy Tuscany. Of this, at one time you could read the date and signature: "Domenicus Tol. Doctum cecidisse cacomen, 1853."
The date of the fresco in 1853 must refer probably to some restoration or reconstruction, as it is known only from Tolmezzo Domenico, who lived between 1448 and 1507. Local historians agree it is precisely these supposedly the author of the frescoes of the chapel. The stylistic affinities opera in Verona with the other notes of the great painter carnico are, in fact, remarkable. work in the chapel was completed around 1489, when Domenico was about forty-two, as confirmed indirectly by Soncino in Foil Horns in 1487, where he writes, "are human bones in the tomb in the chapel of the left hand of the glorious nomata Tuscany." For these reasons, the work may belong to the fifteenth-century painter who was certainly in touch with the artistic circles of Verona.
It was built in the fifteenth century (1464-1483) by the Benedictine monks, was present when one of their monasteries and the remains of an ancient cave-church dedicated to Saints Nazario, Giuliana and Celso, which had been dug out of the mountain above Scaglione.
From the public highway leads to the churchyard crossing a monumental portal stone building, built in the second half of the seventeenth century by the architect Antonio Saletti inspired by the classical models: two pairs of Ionic columns enclosed by fluttering draperies, topped by a heavy eardrum. The facade is very exciting and it seems pervaded by uncertainty stylistic patterns that re-Romanesque-Gothic, uniting with Renaissance elements. And 'sober and slender, made of terra-cotta bricks, decorated with pinnacles, large windows and frames trefoil arches. It has a majestic central rose window and a Gothic portal with a pointed arch, in whose bezel is a fresco (Madonna with Saints Nazario and Celso) painted by Paul Ligozzi. Elegant is instead the sixteenth-century bell tower, clearly inspired by Venetian models.
Next to "Il Vicolo" Apartments Verona center, it is the only sixteenth-century Italian garden display in Verona. A green oasis ten minutes from the Arena where you can see collections of flowers, Roman remains and a majestic avenue of cypress trees, fountains, grottoes acoustic and a hedge maze among the oldest in Europe.
Located within walking distance from the city center and very close to Roman Theatre, yet hidden to the eye of the visitor in a hurry and distracted, Giardino Giusti is a corner of Verona, which leads to slow and meditation. A splendid example of Italian garden, enchanting with the sublime spectacle of art and nature property in timeless harmony.
Its history began in the fifteenth century when the Tuscan Giusti family moved to Verona, establishing your own business in this area of dyeing wool. In the second sixteenth Count Agostino Giusti did rearrange the fields behind the palace, for vegetable and fruit garden, recreating a typical Tuscan Renaissance garden, following the philosophy of the time that is the basis of Boboli. The choice of design for the garden depended on the particular morphology of the area: a stretch of level ground, bounded on the north by a massive cliff that winds up on the hill of San Pietro, which is followed by a further small strip of land that , slightly wavy, extends east beyond the borders of the lower one.
Thanks to a clever interplay of perspectives the avenue is longer than it actually is, and culminates with the arrival of one of the five caves carved into the cliff, topped by a giant stone mask crowned by balustrades of a wonderful belvedere. In the garden there is also a maze of hedges, woods, small in size but difficult the path, among the oldest in Europe already included in the original sixteenth-century Verona was redesigned in 1786 by architect Luigi Trezza. From the turret-shaped bell tower located next to the cliff runs a large spiral staircase leading to the terrace of the lookout and to the upper garden, with a beautiful view over the city of Romeo and Juliet.
Next to "Il Vicolo" Center Apartments Verona is an ancient church, whose origins are lost in time and date back to the Lombard era, which preserves a rich pictorial decoration. In the visit deserve particular attention in the marquetry on the cupboards wooden choir and the sacristy.
The origins of the Church of Santa Maria in Organo date back to the Lombard era, between the sixth and seventh centuries AD. Destroyed and rapidly rebuilt after the earthquake of 1117, was rebuilt again at the turn of the '500 by the Benedictine Monks who had been entrusted in 1444 by Pope Eugene IV. Become one of the richest abbeys of the city was facing a side channel of the river Adige (today Via Basement Water Dead) which was closed after a disastrous flood in the last years of the nineteenth century, unfortunately decreeing the end of some of the angles most characteristic of the old Veronetta.
The fašade is unfinished and is presented with a composite style, divided into two distinct parts. The bottom white marble (the work of Sanmicheli) is Renaissance, and more recently, with three imposing arches separated by pilasters and Corinthian columns and the upper part is the Gothic-Romanesque and preserve its original coating that alternated rows of brick and tuff, ending in the attic with a delicate decoration hanging arches. Renaissance are also forms of sixteenth-century bell tower, on the right side of the church, which escapes from the typical Veronese: overlapping orders of mullioned windows, blind in the lower levels and open in the belfry, surmounted by a balustrade that surrounds an octagonal drum with fairing slender.
The interior has three naves in the shape of a Latin cross, with transept and presbytery (transept) slightly raised with respect to the parish church has a rich pictorial decoration: frescoes by Francesco and Nicol˛ Caroto Giolfino on the gables of the nave; blades Antonio Balestra , Paul Farinati, Francesco Torbido and Guercino in the side chapels, frescoes by Francesco Morone, paintings by Domenico Brusasorci and a shovel of Alessandro Turchi said Orbetto in the sacristy. Under the presbytery is the lower church, pre-Romanesque building with three naves with vaulted ceilings, columns and capitals of the eighth century. Visited upon request contains a famous fourteenth-century marble altarpiece attributed to John of Rigino.
Among the jewels stored at Santa Maria in Organo deserve special attention the incredible marquetry in the choir stalls and on the cupboards of the sacristy. Made between the end of the fifteenth century and the first decades of the sixteenth century by Friar Giovanna da Verona, with painstaking craftsmanship depicting urban landscapes (and the ideal city of Verona), allegories, still life, common objects and liturgical use. Superb in the candlestick of the Paschal candle, the work by the same author in walnut and almost four meters high, which are inlaid dolphins, sphinxes and pictures of saints. In the church there is also a precious polychrome wooden sculpture of the thirteenth century (Muletta) depicting a Blessing Christ entering Jerusalem astride a mule.
Church of ancient origin, a few hundred meters from Residenza Verona "Il Vicolo", was built in the sixth century on a burial area from Roman times became early Christian cemetery, becoming a sort of second cathedral town when Goths and Lombards ruled the city.
In the twelfth century was also conducted The Collegiate, a kind of seminar that housed the aspiring priests, and today serves as the rectory of the church. The fašade of the church is made of tufa, which is divided vertically into three sections that correspond to the inner aisles. It 's simple and almost devoid of decoration: only an end embroidery with arches, a mullioned window and two small side windows surround the light prostyle minute resting on red marble columns and protects a Madonna painted.
On the right side of the church are the Romanesque cloister, with round arches and marble columns combined, and square bell tower, Romanesque in the eighteenth century on the bottom and top. The interior has a basilica with three naves and apses divided by alternating pillars and slender red marble columns with Corinthian capitals. Special attention deserve the octagonal Baptistery greek marble, the eighteenth-century altar in Baroque style and the St. John the Baptist painted by Happy Brusasorzi which is preserved in the sacristy.
This remarkable crypt in the basement of the church and accessible from two entrances on either side of the staircase leading to the presbytery. E ' divided into two parts, which correspond to different periods of construction: the front is square and has eight columns reused in the ninth century, while the back is Romanesque (twelfth century) with the traditional three naves.
A stone's throw from the apartments "Il Vicolo", consists of buildings from different periods, placed in a scenic natural environment hilly. Originally it stretched from the shore of the Adige to the top of the hill and was crowned by a temple whose remains have come to light in 1851, when the Austrians began the excavations for the reconstruction of Castel S. Peter.
The Roman Theatre has remained buried for many centuries. Built at the beginning of the century. A.D. and designed even in the first century. BC, from the tenth century., on its ruins were built religious buildings and homes that over time completely concealed structures of the theater. Of these buildings remained, the eastern wing of the auditorium, the church of SS. Siro and Freedom which has maintained the original structure, while undergoing various changes in the XIV-XVIII sec. (Inside there are paintings of the fourteenth century. Giambettino and the tomb of Cignaroli). In the eighteenth century., An excavation brought to light random fragments of marble, rekindling interest in the monument. In 1904, the City of Verona acquired the area and continued the renovations to completion in the 70s. Since 1948, the theater is home to Summer Theatre Veronese, summer season of plays, which since 1968 has also added the dance. Since 1985 he is home, always within Summer Theatre Veronese, Verona Jazz Festival.
The theater consists of the remains of the stage, the orchestra, the auditorium, two orders of galleries and 3 terraces linked up to the top of the hill.
The hill of San Pietro is a charming hill that rises to a few hundred meters behind the Teatro Romano. Its summit, in a strategic position, easily defensible and close to the water of the Adige, has been inhabited since the dawn of time. It features a nineteenth-century military barracks, built by the Austrian army.
In this place there were found traces of a settlement dating back to the Iron Age; here in Roman times a temple was built and a strong place to defend the bridge Stone, a castrum in the Middle Ages and the church of St. Peter at the end of three hundred a stately manor built by the Visconti and reinforced during the Venetian rule.
The Visconti castle continued to dominate the hill until March of 1801, when Napoleon's troops did strategically blow up before handing over the city to the Austrians. These, on the ruins of the ancient fortress, between 1852 and 1856 built the military barracks that we can still admire along the funicular built in the early '900 to transport visitors from Santo Stefano at Castel San Pietro, with a hint of regret we note that it too is lying idle for years.
The church of Santo Stefano is one of the oldest buildings of Verona, which still retains its original early Christian perimeter walls.
It was built around 450 over a burial ground located outside the Roman walls, when it began to spread to the cult of St. Stephen Veneto whose remains were found near Jerusalem in 415. A cemetery basilica was probably the first cathedral of Verona, as would leave sense the presence of the tombs of bishops V-IX century and the ancient medieval stone cathedra, preserved in the apse.
The original structure was modified in the tenth century by creating the current aisles, making the underground crypt and closing the large side windows that gave light inside. The facade is impressive and typically Romanesque, with alternating bands of stone and brick floors that are interrupted by a pair of pilasters on the sides of the small porch roof, with a central rose window and two elongated lancet windows (built in the nineteenth century) that lighten the structure, leading the eye towards the small window in the cross surmounted by a frame of blind arches under the slopes . Interesting octagonal lantern with a double row of mullioned windows overlooking the building, made of brick during the twelfth century, is the only one of this type of Lombardy in the Verona area.
The interior has a Latin cross with three naves, the central one is a little wider and the high side. Divided into rural church, crypt and presbytery, contains many works of art, including a stone statue of the fourteenth century depicting St. Peter's Chair; superb paintings of the '500 Brusaorci Domenico, Giovanni Battista del Moro and Caroto; fourteenth century frescoes Martino da Verona.
Absolutely to visit the chapel of the lamps, located on the right of the entrance. It 'a beautiful jewel of baroque art, decorated with stucco mannerism of admirable beauty and magnificent three blades Alessandro Turchi, Pasquale Ottino and Marcantonio Bassetti, containing the remains of four victims of the Massacre of the Innocents ordered by Herod, forty martyrs and five holy bishops of Verona.
Just two hundred meters from "Il Vicolo" Verona Apartments and Hospitality Center. Built in the first century BC to replace an earlier wooden bridge, stone bridge is the oldest Roman monument of Verona.
It combined the original route of the Postojna with the hill in front at a ford, which was present here since the dawn of time. In Roman times there were seven bridges that crossed the Adige at various points in the city, and the two were near the Roman Theatre: Stone bridge and bridge Postumius. It would be interesting to see the two bridges still almost side by side, but in 905 Postumius the bridge was partially destroyed by a flood of the Adige, and after three centuries, in 1239 it finally gave way to the river.
Of its five arches only two on the left, built of white stone, dating back to Roman times, the central arch and the next one, made of bricks, belong to a reconstruction carried out in 1520, the last arch on the right goes back to a Medieval wanted to remake in 1298 by Alberto I della Scala. On this occasion, the bridge was also equipped with a menacing defensive tower placed at his head, adorned towards the river by a stone arch with the emblem of the Scala.
Beautiful by day, offers the best of themselves during the night, one of the most romantic places in the entire city.
Blew up on April 24, 1945 by the Germans has been faithfully reconstructed using only original materials recovered from the river bed.