The church of San Fermo is one of the most interesting religious buildings of Verona, consisting of two churches connected and overlapping each other. Unique in the Romanesque style which blends harmoniously with the Gothic.
The lower church was built between 1065 and 1143, on the ruins of an ancient parish church of the fifth century, already dedicated to Saints Fermo and Rustico that in this place had been martyred. The upper church was built in the first decades of the fourteenth century by Franciscan monks, who left intact Romanesque lower church and gave the higher the current gothic style, enriching it through the centuries with the original keel ceiling, frescoes, cusps and numerous works art.
The lower part is made of tuff and belongs to the previous Romanesque church, the upper part is typically Gothic, with its wall covering in alternating bands of tuff and brick, which opens onto a large four-light window, surmounted by a three-light window set between two niches.
Complete the splendid overview of the Romanesque portal with its deep splay to multiple cords and the bronze doors, recently conducted by maestro Luciano Minguzzi, where you can see 24 panels that tell the story of the Saints Fermo and Rustico. Also note the statue of St. Francis, set in the lunette above the portal, and the ark of burial in which lie the remains of Aventine Fracastoro, placed on the left of the steps leading to the entrance.
The interior of the wide upper church has a Latin cross, has a single nave with five apses and side altars. Upon entering the eye is immediately fascinated by the fourteenth-century wooden ceiling of a ship's hull, adorned with a double gallery of arches on which are painted busts of the saints.
They kept also the frescoes of Pisanello and sculptures by Michele Sanmicheli.
At the former convent of San Francesco al Corso, where there are Juliet's tomb and museum of frescoes dedicated to John the Baptist Cavalcaselle.
In the crypt, which is accessed from the east side of the cloister through a stone staircase, there is a red marble sarcophagus uncovered that traditionally hosted the mortal remains of the young Capulet. At the beginning of the fourteenth century to the dead suicide was not granted ecclesiastical burial, but in the case of Juliet authorities were no exception, consenting to the burial in that simple bed, even if devoid of coats of arms and inscriptions. It was in the sixteenth century, with the growth of the fame of the two lovers of Verona, the ecclesiastical authorities tried to eliminate the scandal, desecrating the grave, scattering the bones and transforming the sarcophagus into a container for the water well. Despite the neglect and abandonment of a wanted the legend continued to grow, and the tomb became a place of constant pilgrimages. He was honored by many famous people who went to Verona, in which Lord Byron, that "the tomb of Juliet, simple, open, with withered leaves around in the vast and desolate garden of a convent, it is sad sad as it was his love "and also by the Princess Marie Louise of Austria in 1822 (formerly Duchess of Parma and Piacenza), it did make some jewelry with fragments of stone taken from the sarcophagus.
When in 1842 the nuns left the convent, the tomb had fallen into oblivion. The English novelist Charles Dickens, during a visit to the chapel described it as a "watering hole" and was very annoyed that his lie abandoned in a vegetable garden.
It was only in 1937, as part of a vast work of museum display of the artistic heritage of the city, that the tomb was moved to the basement adjacent to the Cloister, where today it is visited by many tourists.
SS. Trinità Church