16. THE GIUSTI CHAPEL. The original stained‑glass
windows date from 1460. Fresco with Saint Peter the Martyr
by Giovanni Badile (1379-1451). The wooden choir is the
work of Maestro Lorenzo di S. Cecilia (1490‑1493). Above
the choir you can see Abraham and the three Angels and Agar
being assisted by the Angel by Antonio Balestra (1666‑1740).
Above the altar there is a painting by Felice Brusasorzi
(1539‑1605). Hanging on the ceiling there is the rudder of a
ship, a trophy of war from the battle of Lepanto (1571).
19. THE ST. RAYMOND DE PENAFORT ALTAR.
This is dedicated to one of the most important Dominican saints.
The painting by Felice Brusasorzi (1539‑1605) was completed by
Alessandro Turchi (1578‑1649).
17. ROSARY
CHAPEL
(1585‑1596).
This was built
by Domenico
Curtoni (late 16th ‑
12
11
10
13
14
early 17th century)
16
to celebrate the
15
9
victory at Lepanto
in 1571. On the
8
wall to the right
17
7
you can see Christ
Praying in the
garden of Olives by
Pietro Bernardi
(late 16th ‑ early
18
6
17th century).
On the wall to
19
5
the left there is a
painting of Christ
being scourged
20
4
at the Pillar by
Claudio Ridolfi
1
2
3
21
(1560‑1644).
Above the altar
you can see a copy
of the painting
of Madonna of
Humility with Saints Peter and Dominic together with the
offerers Cangrande II della Scala and his wife Elisabetta by
Lorenzo Veneziano (1358-59).
21. THE BOLDIERI ALTAR. This is a fine piece of Renaissance
handwork dedicated to St. Peter Martyr.
On either side of the statue of this saint you can see those of
St. Sebastian and St. Rocco. The three statues are made in coloured
soft stone. It is worth noticing that St. Peter holds in one hand
a model of the city of Verona. As you look around you will see
frescoes by Antonio Badile II (1424‑1507).
ChieseVerona _ biglietto unico _ 100x70 mm
LE CHIESE STORICHE diVERONA
H I S T O R I C A L C H U R C H E S I N V E R O N A
S
O
CIAZIO
IE
SE VI
NE
E
H
C
18. MINISCALCHI ALTAR. This altar is dedicated to the
Holy Ghost. The painting of the Descent of the Holy Ghost is
the work of Nicolò Giolfino (1476‑1555) and the lunette was
painted by Francesco Morone (1471‑1529).
To the right of the altar you will find the organ, built in 1625.
The carver Andrea Scudellino was commissioned by the
Dominican friar Vincenzo Squarcialupi to make the gilded
organ case showing the figures of Popes and Dominican saints.
The existing sound section was installed by the Veronese
organ‑builder Domenico Farinati.
20. THE FAELLA ALTAR. This is dedicated to St. Erasmus, the
first Bishop of Formia. The painting of the Holy Redeemer with
St. Erasmus and St. George on either side is the work of Nicolò
Giolfino (1476‑1555).
AS
VISIT OF THE INTERIOR
THE CHURCH OF
ST. ANASTASIA
V
San Zeno, Duomo, Santa Anastasia,
San Fermo
T
he church of St. Anastasia is a fine example of
Italian Gothic architecture. It was designed by two
Dominican friars, Fra Benvenuto da Bologna and Fra
Nicolò da Imola and work began on it from 1290 AD.
Work lasted throughout the 14 th and 15 th centuries and
by the early years of the 16th century the final stages of
building showed that the end was in sight. The only thing
never to be completed was the façade (but you can see a
model of the church in the painting above the Centrego
altar). St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by
twelve impressive pillars in red Veronese marble. To the
left of the transept a splendid marble entrance opens onto
the Giusti chapel which was at one time the oratory of the
Dominican monastery.
The church soars to a great height and the interior is
impressive. A glance at the aisles, the vaulting and the
very lovely frescoes will make it clear that this is not only
a place of worship; it is virtually an art‑gallery which
contains many of the works of art Masters often mentioned
in art history books. The most important is Pisanello’s
well‑known fresco (St. George and the Princess) above
Pellegrini Chapel.
Associazione
Chiese Vive
Verona
1000 years of faith witnessed by art
1. HOLY WATER STOUP (1495). This was carved by Gabriele
Caliari, father of Paolo Caliari better known as “il Veronese”.
It features a “hunchback”, a figure which from immemorial times
has always appealed to the superstitious. It is said that touching a
hunchback on the hump brings good luck.
2. HOLY WATER STOUP (1591). This was carved by Paolo
Orefice. It is known as “Pasquino” (from the Italian “Pasqua” =
“Easter”) because it first appeared in the Basilica at Easter in the
year 1591. This sculpture is slightly larger and more ornate than
the one next to it. The flooring (1462) is original and is made up of
three colours: white and black are those of the Dominican habit and
red calls to mind the martyrdom of St. Peter of Verona to whom the
Basilica is dedicated.
3. THE FREGOSO ALTAR. This was carved by Danese
Cattaneo da Carrara (1509‑1573), one of Sansovino’s
best‑known pupils, and was dedicated to the Holy Redeemer.
Such was its beauty that it attracted the attention of no less
a person than Vasari.
4. S. VINCENZO FERRER ALTAR. This is dedicated to one
of the great Dominican saints. The painting is by Pietro Rotari
(1707-1762) and the marble frieze around the altar is the work of
Pietro da Porlezza (1481‑1559) a cousin of the architect Michele
Sanmicheli.
5. THE BEVILACQUA‑LAZISE ALTAR. This altar is dedicated
to the Virgin Mary. The group of figures in marble is the work of
Orazio Marinali (1643‑1720).
Around the altar there is a frieze adorned with figures created by
Pietro da Porlezza (1481‑1559). The frescoes are by Liberale da
Verona (1455‑ 1526).
6. THE PINDEMONTE ALTAR. The painting of St. Martin
is by Giovan Francesco Caroto (1480‑1546). The artist was
a pupil of Liberale da Verona, and it was he
who developed his master’s particular
sense of form and colour. He was also
influenced by Mantegna and to a lesser
extent by Francia and Bonsignori.
7. THE MAZZOLENI ALTAR (1592).
This is dedicated to the Dominican nun
St. Rose of Lima. The painting is by
Giovanni Ceffis (second half of the 17th
century). To the left of the side entrance
you can see a painting by Liberale da
Verona (1455‑1526) which portrays St. Mary
Magdalene, St. Catherine and St. Toscana.
According to Vasari this artist, who was
both painter and illuminator, was a pupil of
Vincenzo di Stefano, and of Jacopo Bellini
who worked in Verona during the year 1463.
8. THE CRUCIFIX CHAPEL. This is the most ancient part
of the Basilica as it is built on the site of the earlier smaller church
dedicated to St. Anastasia. The wooden cross dates from the mid
15th century. On the left you can see a funeral monument in painted
tufa erected to Gianesello da Folgaria (1427): a piece from the 15th
century caranese school.
9. THE CENTREGO ALTAR (1488‑1502).
This impressive monument is dedicated to the Dominican monk
St. Thomas Aquinas. The painting of Our Lady enthroned between
St. Thomas and St.Augustine is by Girolamo dai
Libri (1477‑1555) a very skilful Veronese
painter and illuminator.
10. THE CAVALLI CHAPEL.
On the right you can see a fresco
by Altichiero dating from the late
14th century. The painting in the
lunette which contains Federico
Cavalli’s tomb and other frescoes
in this chapel, namely The Virgin
and Child, St. Christopher and The
miracle of S. Eligio are by Martino
da Verona (d. 1412). Worth noting
is the fresco on the left depicting
Christ’s Baptism and attributed to an
anonymous painter painter from
Bologna (early 14h century).
.
11. THE PELLEGRINI CHAPEL. Above the chapel, painted
on the external arch, you can see Pisanello’s fresco of St. George
and the Princess. Pisanello was a painter at the various courts. His
High Gothic tastes can be discerned in the refined, clear‑cut way
he evokes a fantastic chivalrous world. The walls are covered in a
series of 24 tableaux in terracotta in which the artist, Michele da
Firenze (1435) tells the story of Christ’s Life. On the right you
can see the Bevilacqua Pellegrini tomb and a lunette frescoed by
Martino da Verona (late 14th ‑ early 15th century).
On the left is the tomb of Pellegrini family. Other frescoes
are attributed to Michele da Verona and to Antonio Badile
II (late 15th century). Above the altar you can see the painting
of Madonna of Humility with Saints Peter and Dominic
together with the offerers
Cangrande II della Scala
and his wife Elisabetta
by Lorenzo Veneziano
(1358-59).
12. THE PRESBITERY.
The interior is most
impressive.
The altar was restored in
1952. On the right you can
see The Last Judgment
attributed to Second
Master of Saint Zeno
(c. 1360). The
stained‑glass windows
were inserted in 1935.
As you follow them from
left to right they portray St. Thomas, St. Catherine of Siena,
St. Peter Martyr, St. Rose of Lima and St. Dominic. On the
left there is a fresco by Giambono (1432) depicting the
Annunciation. Inside you can see the Mausoleum of Cortesia
Serego (1429) attributed to Pietro di Niccolò Lamberti.
13. THE LAVAGNOLI CHAPEL. This chapel is dedicated
to St. Anna. On the left you can see a series of frescoes clearly
influenced by Mantegna and recently attributed to Giovanni
Maria Falconetto (1468-1535). Following the order from
top to bottom you can see these scenes: Jesus calls the first
Apostles, The Crucifixion, and Jesus entering Capharnaum.
14. THE SALERNI CHAPEL. Mostly of the frescoes are
attributed to Second Master of Saint Zeno (second half of the
14th century). Fresco with the Virgin with Jesus and a Bishop
was made by the anonymous painter from Bologna who worked
at Cavalli Chapel. Giovanni Salerni’s tomb decorated in 1387.
15. THE LEFT TRANSEPT. The fresco with Jacopo
Beccucci presented to the Virgin Mary painted by Second
Master of Saint Zeno. Along the upper part of the wall you
can see three paintings: The Assumption of the Virgin with
Saint Nicholas and Saint Cecilia by Alessandro Turchi
(1578‑1649), The Deposition and The Miracle of Saint
Hyacinth by Paolo Farinati (1524-1606).
On the upper part of the left wall you will see a painting of
St. Paul, St. Denis, St. Mary Magdalene and devotees.
This is the work of the Veronese artist Francesco
(1470‑1529) son of Domenico Morone who worked under
the guidance of Gentile Bellini’s school.
1. HOLY WATER STOUP (1495). This was carved by Gabriele
Caliari, father of Paolo Caliari better known as “il Veronese”.
It features a “hunchback”, a figure which from immemorial times
has always appealed to the superstitious. It is said that touching a
hunchback on the hump brings good luck.
2. HOLY WATER STOUP (1591). This was carved by Paolo
Orefice. It is known as “Pasquino” (from the Italian “Pasqua” =
“Easter”) because it first appeared in the Basilica at Easter in the
year 1591. This sculpture is slightly larger and more ornate than
the one next to it. The flooring (1462) is original and is made up of
three colours: white and black are those of the Dominican habit and
red calls to mind the martyrdom of St. Peter of Verona to whom the
Basilica is dedicated.
3. THE FREGOSO ALTAR. This was carved by Danese
Cattaneo da Carrara (1509‑1573), one of Sansovino’s
best‑known pupils, and was dedicated to the Holy Redeemer.
Such was its beauty that it attracted the attention of no less
a person than Vasari.
4. S. VINCENZO FERRER ALTAR. This is dedicated to one
of the great Dominican saints. The painting is by Pietro Rotari
(1707-1762) and the marble frieze around the altar is the work of
Pietro da Porlezza (1481‑1559) a cousin of the architect Michele
Sanmicheli.
5. THE BEVILACQUA‑LAZISE ALTAR. This altar is dedicated
to the Virgin Mary. The group of figures in marble is the work of
Orazio Marinali (1643‑1720).
Around the altar there is a frieze adorned with figures created by
Pietro da Porlezza (1481‑1559). The frescoes are by Liberale da
Verona (1455‑ 1526).
6. THE PINDEMONTE ALTAR. The painting of St. Martin
is by Giovan Francesco Caroto (1480‑1546). The artist was
a pupil of Liberale da Verona, and it was he
who developed his master’s particular
sense of form and colour. He was also
influenced by Mantegna and to a lesser
extent by Francia and Bonsignori.
7. THE MAZZOLENI ALTAR (1592).
This is dedicated to the Dominican nun
St. Rose of Lima. The painting is by
Giovanni Ceffis (second half of the 17th
century). To the left of the side entrance
you can see a painting by Liberale da
Verona (1455‑1526) which portrays St. Mary
Magdalene, St. Catherine and St. Toscana.
According to Vasari this artist, who was
both painter and illuminator, was a pupil of
Vincenzo di Stefano, and of Jacopo Bellini
who worked in Verona during the year 1463.
8. THE CRUCIFIX CHAPEL. This is the most ancient part
of the Basilica as it is built on the site of the earlier smaller church
dedicated to St. Anastasia. The wooden cross dates from the mid
15th century. On the left you can see a funeral monument in painted
tufa erected to Gianesello da Folgaria (1427): a piece from the 15th
century caranese school.
9. THE CENTREGO ALTAR (1488‑1502).
This impressive monument is dedicated to the Dominican monk
St. Thomas Aquinas. The painting of Our Lady enthroned between
St. Thomas and St.Augustine is by Girolamo dai
Libri (1477‑1555) a very skilful Veronese
painter and illuminator.
10. THE CAVALLI CHAPEL.
On the right you can see a fresco
by Altichiero dating from the late
14th century. The painting in the
lunette which contains Federico
Cavalli’s tomb and other frescoes
in this chapel, namely The Virgin
and Child, St. Christopher and The
miracle of S. Eligio are by Martino
da Verona (d. 1412). Worth noting
is the fresco on the left depicting
Christ’s Baptism and attributed to an
anonymous painter painter from
Bologna (early 14h century).
.
11. THE PELLEGRINI CHAPEL. Above the chapel, painted
on the external arch, you can see Pisanello’s fresco of St. George
and the Princess. Pisanello was a painter at the various courts. His
High Gothic tastes can be discerned in the refined, clear‑cut way
he evokes a fantastic chivalrous world. The walls are covered in a
series of 24 tableaux in terracotta in which the artist, Michele da
Firenze (1435) tells the story of Christ’s Life. On the right you
can see the Bevilacqua Pellegrini tomb and a lunette frescoed by
Martino da Verona (late 14th ‑ early 15th century).
On the left is the tomb of Pellegrini family. Other frescoes
are attributed to Michele da Verona and to Antonio Badile
II (late 15th century). Above the altar you can see the painting
of Madonna of Humility with Saints Peter and Dominic
together with the offerers
Cangrande II della Scala
and his wife Elisabetta
by Lorenzo Veneziano
(1358-59).
12. THE PRESBITERY.
The interior is most
impressive.
The altar was restored in
1952. On the right you can
see The Last Judgment
attributed to Second
Master of Saint Zeno
(c. 1360). The
stained‑glass windows
were inserted in 1935.
As you follow them from
left to right they portray St. Thomas, St. Catherine of Siena,
St. Peter Martyr, St. Rose of Lima and St. Dominic. On the
left there is a fresco by Giambono (1432) depicting the
Annunciation. Inside you can see the Mausoleum of Cortesia
Serego (1429) attributed to Pietro di Niccolò Lamberti.
13. THE LAVAGNOLI CHAPEL. This chapel is dedicated
to St. Anna. On the left you can see a series of frescoes clearly
influenced by Mantegna and recently attributed to Giovanni
Maria Falconetto (1468-1535). Following the order from
top to bottom you can see these scenes: Jesus calls the first
Apostles, The Crucifixion, and Jesus entering Capharnaum.
14. THE SALERNI CHAPEL. Mostly of the frescoes are
attributed to Second Master of Saint Zeno (second half of the
14th century). Fresco with the Virgin with Jesus and a Bishop
was made by the anonymous painter from Bologna who worked
at Cavalli Chapel. Giovanni Salerni’s tomb decorated in 1387.
15. THE LEFT TRANSEPT. The fresco with Jacopo
Beccucci presented to the Virgin Mary painted by Second
Master of Saint Zeno. Along the upper part of the wall you
can see three paintings: The Assumption of the Virgin with
Saint Nicholas and Saint Cecilia by Alessandro Turchi
(1578‑1649), The Deposition and The Miracle of Saint
Hyacinth by Paolo Farinati (1524-1606).
On the upper part of the left wall you will see a painting of
St. Paul, St. Denis, St. Mary Magdalene and devotees.
This is the work of the Veronese artist Francesco
(1470‑1529) son of Domenico Morone who worked under
the guidance of Gentile Bellini’s school.
1. HOLY WATER STOUP (1495). This was carved by Gabriele
Caliari, father of Paolo Caliari better known as “il Veronese”.
It features a “hunchback”, a figure which from immemorial times
has always appealed to the superstitious. It is said that touching a
hunchback on the hump brings good luck.
2. HOLY WATER STOUP (1591). This was carved by Paolo
Orefice. It is known as “Pasquino” (from the Italian “Pasqua” =
“Easter”) because it first appeared in the Basilica at Easter in the
year 1591. This sculpture is slightly larger and more ornate than
the one next to it. The flooring (1462) is original and is made up of
three colours: white and black are those of the Dominican habit and
red calls to mind the martyrdom of St. Peter of Verona to whom the
Basilica is dedicated.
3. THE FREGOSO ALTAR. This was carved by Danese
Cattaneo da Carrara (1509‑1573), one of Sansovino’s
best‑known pupils, and was dedicated to the Holy Redeemer.
Such was its beauty that it attracted the attention of no less
a person than Vasari.
4. S. VINCENZO FERRER ALTAR. This is dedicated to one
of the great Dominican saints. The painting is by Pietro Rotari
(1707-1762) and the marble frieze around the altar is the work of
Pietro da Porlezza (1481‑1559) a cousin of the architect Michele
Sanmicheli.
5. THE BEVILACQUA‑LAZISE ALTAR. This altar is dedicated
to the Virgin Mary. The group of figures in marble is the work of
Orazio Marinali (1643‑1720).
Around the altar there is a frieze adorned with figures created by
Pietro da Porlezza (1481‑1559). The frescoes are by Liberale da
Verona (1455‑ 1526).
6. THE PINDEMONTE ALTAR. The painting of St. Martin
is by Giovan Francesco Caroto (1480‑1546). The artist was
a pupil of Liberale da Verona, and it was he
who developed his master’s particular
sense of form and colour. He was also
influenced by Mantegna and to a lesser
extent by Francia and Bonsignori.
7. THE MAZZOLENI ALTAR (1592).
This is dedicated to the Dominican nun
St. Rose of Lima. The painting is by
Giovanni Ceffis (second half of the 17th
century). To the left of the side entrance
you can see a painting by Liberale da
Verona (1455‑1526) which portrays St. Mary
Magdalene, St. Catherine and St. Toscana.
According to Vasari this artist, who was
both painter and illuminator, was a pupil of
Vincenzo di Stefano, and of Jacopo Bellini
who worked in Verona during the year 1463.
8. THE CRUCIFIX CHAPEL. This is the most ancient part
of the Basilica as it is built on the site of the earlier smaller church
dedicated to St. Anastasia. The wooden cross dates from the mid
15th century. On the left you can see a funeral monument in painted
tufa erected to Gianesello da Folgaria (1427): a piece from the 15th
century caranese school.
9. THE CENTREGO ALTAR (1488‑1502).
This impressive monument is dedicated to the Dominican monk
St. Thomas Aquinas. The painting of Our Lady enthroned between
St. Thomas and St.Augustine is by Girolamo dai
Libri (1477‑1555) a very skilful Veronese
painter and illuminator.
10. THE CAVALLI CHAPEL.
On the right you can see a fresco
by Altichiero dating from the late
14th century. The painting in the
lunette which contains Federico
Cavalli’s tomb and other frescoes
in this chapel, namely The Virgin
and Child, St. Christopher and The
miracle of S. Eligio are by Martino
da Verona (d. 1412). Worth noting
is the fresco on the left depicting
Christ’s Baptism and attributed to an
anonymous painter painter from
Bologna (early 14h century).
.
11. THE PELLEGRINI CHAPEL. Above the chapel, painted
on the external arch, you can see Pisanello’s fresco of St. George
and the Princess. Pisanello was a painter at the various courts. His
High Gothic tastes can be discerned in the refined, clear‑cut way
he evokes a fantastic chivalrous world. The walls are covered in a
series of 24 tableaux in terracotta in which the artist, Michele da
Firenze (1435) tells the story of Christ’s Life. On the right you
can see the Bevilacqua Pellegrini tomb and a lunette frescoed by
Martino da Verona (late 14th ‑ early 15th century).
On the left is the tomb of Pellegrini family. Other frescoes
are attributed to Michele da Verona and to Antonio Badile
II (late 15th century). Above the altar you can see the painting
of Madonna of Humility with Saints Peter and Dominic
together with the offerers
Cangrande II della Scala
and his wife Elisabetta
by Lorenzo Veneziano
(1358-59).
12. THE PRESBITERY.
The interior is most
impressive.
The altar was restored in
1952. On the right you can
see The Last Judgment
attributed to Second
Master of Saint Zeno
(c. 1360). The
stained‑glass windows
were inserted in 1935.
As you follow them from
left to right they portray St. Thomas, St. Catherine of Siena,
St. Peter Martyr, St. Rose of Lima and St. Dominic. On the
left there is a fresco by Giambono (1432) depicting the
Annunciation. Inside you can see the Mausoleum of Cortesia
Serego (1429) attributed to Pietro di Niccolò Lamberti.
13. THE LAVAGNOLI CHAPEL. This chapel is dedicated
to St. Anna. On the left you can see a series of frescoes clearly
influenced by Mantegna and recently attributed to Giovanni
Maria Falconetto (1468-1535). Following the order from
top to bottom you can see these scenes: Jesus calls the first
Apostles, The Crucifixion, and Jesus entering Capharnaum.
14. THE SALERNI CHAPEL. Mostly of the frescoes are
attributed to Second Master of Saint Zeno (second half of the
14th century). Fresco with the Virgin with Jesus and a Bishop
was made by the anonymous painter from Bologna who worked
at Cavalli Chapel. Giovanni Salerni’s tomb decorated in 1387.
15. THE LEFT TRANSEPT. The fresco with Jacopo
Beccucci presented to the Virgin Mary painted by Second
Master of Saint Zeno. Along the upper part of the wall you
can see three paintings: The Assumption of the Virgin with
Saint Nicholas and Saint Cecilia by Alessandro Turchi
(1578‑1649), The Deposition and The Miracle of Saint
Hyacinth by Paolo Farinati (1524-1606).
On the upper part of the left wall you will see a painting of
St. Paul, St. Denis, St. Mary Magdalene and devotees.
This is the work of the Veronese artist Francesco
(1470‑1529) son of Domenico Morone who worked under
the guidance of Gentile Bellini’s school.
16. THE GIUSTI CHAPEL. The original stained‑glass
windows date from 1460. Fresco with Saint Peter the Martyr
by Giovanni Badile (1379-1451). The wooden choir is the
work of Maestro Lorenzo di S. Cecilia (1490‑1493). Above
the choir you can see Abraham and the three Angels and Agar
being assisted by the Angel by Antonio Balestra (1666‑1740).
Above the altar there is a painting by Felice Brusasorzi
(1539‑1605). Hanging on the ceiling there is the rudder of a
ship, a trophy of war from the battle of Lepanto (1571).
19. THE ST. RAYMOND DE PENAFORT ALTAR.
This is dedicated to one of the most important Dominican saints.
The painting by Felice Brusasorzi (1539‑1605) was completed by
Alessandro Turchi (1578‑1649).
17. ROSARY
CHAPEL
(1585‑1596).
This was built
by Domenico
Curtoni (late 16th ‑
12
11
10
13
14
early 17th century)
16
to celebrate the
15
9
victory at Lepanto
in 1571. On the
8
wall to the right
17
7
you can see Christ
Praying in the
garden of Olives by
Pietro Bernardi
(late 16th ‑ early
18
6
17th century).
On the wall to
19
5
the left there is a
painting of Christ
being scourged
20
4
at the Pillar by
Claudio Ridolfi
1
2
3
21
(1560‑1644).
Above the altar
you can see a copy
of the painting
of Madonna of
Humility with Saints Peter and Dominic together with the
offerers Cangrande II della Scala and his wife Elisabetta by
Lorenzo Veneziano (1358-59).
21. THE BOLDIERI ALTAR. This is a fine piece of Renaissance
handwork dedicated to St. Peter Martyr.
On either side of the statue of this saint you can see those of
St. Sebastian and St. Rocco. The three statues are made in coloured
soft stone. It is worth noticing that St. Peter holds in one hand
a model of the city of Verona. As you look around you will see
frescoes by Antonio Badile II (1424‑1507).
ChieseVerona _ biglietto unico _ 100x70 mm
LE CHIESE STORICHE diVERONA
H I S T O R I C A L C H U R C H E S I N V E R O N A
S
O
CIAZIO
IE
SE VI
NE
E
H
C
18. MINISCALCHI ALTAR. This altar is dedicated to the
Holy Ghost. The painting of the Descent of the Holy Ghost is
the work of Nicolò Giolfino (1476‑1555) and the lunette was
painted by Francesco Morone (1471‑1529).
To the right of the altar you will find the organ, built in 1625.
The carver Andrea Scudellino was commissioned by the
Dominican friar Vincenzo Squarcialupi to make the gilded
organ case showing the figures of Popes and Dominican saints.
The existing sound section was installed by the Veronese
organ‑builder Domenico Farinati.
20. THE FAELLA ALTAR. This is dedicated to St. Erasmus, the
first Bishop of Formia. The painting of the Holy Redeemer with
St. Erasmus and St. George on either side is the work of Nicolò
Giolfino (1476‑1555).
AS
VISIT OF THE INTERIOR
THE CHURCH OF
ST. ANASTASIA
V
San Zeno, Duomo, Santa Anastasia,
San Fermo
T
he church of St. Anastasia is a fine example of
Italian Gothic architecture. It was designed by two
Dominican friars, Fra Benvenuto da Bologna and Fra
Nicolò da Imola and work began on it from 1290 AD.
Work lasted throughout the 14 th and 15 th centuries and
by the early years of the 16th century the final stages of
building showed that the end was in sight. The only thing
never to be completed was the façade (but you can see a
model of the church in the painting above the Centrego
altar). St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by
twelve impressive pillars in red Veronese marble. To the
left of the transept a splendid marble entrance opens onto
the Giusti chapel which was at one time the oratory of the
Dominican monastery.
The church soars to a great height and the interior is
impressive. A glance at the aisles, the vaulting and the
very lovely frescoes will make it clear that this is not only
a place of worship; it is virtually an art‑gallery which
contains many of the works of art Masters often mentioned
in art history books. The most important is Pisanello’s
well‑known fresco (St. George and the Princess) above
Pellegrini Chapel.
Associazione
Chiese Vive
Verona
1000 years of faith witnessed by art
16. THE GIUSTI CHAPEL. The original stained‑glass
windows date from 1460. Fresco with Saint Peter the Martyr
by Giovanni Badile (1379-1451). The wooden choir is the
work of Maestro Lorenzo di S. Cecilia (1490‑1493). Above
the choir you can see Abraham and the three Angels and Agar
being assisted by the Angel by Antonio Balestra (1666‑1740).
Above the altar there is a painting by Felice Brusasorzi
(1539‑1605). Hanging on the ceiling there is the rudder of a
ship, a trophy of war from the battle of Lepanto (1571).
19. THE ST. RAYMOND DE PENAFORT ALTAR.
This is dedicated to one of the most important Dominican saints.
The painting by Felice Brusasorzi (1539‑1605) was completed by
Alessandro Turchi (1578‑1649).
17. ROSARY
CHAPEL
(1585‑1596).
This was built
by Domenico
Curtoni (late 16th ‑
12
11
10
13
14
early 17th century)
16
to celebrate the
15
9
victory at Lepanto
in 1571. On the
8
wall to the right
17
7
you can see Christ
Praying in the
garden of Olives by
Pietro Bernardi
(late 16th ‑ early
18
6
17th century).
On the wall to
19
5
the left there is a
painting of Christ
being scourged
20
4
at the Pillar by
Claudio Ridolfi
1
2
3
21
(1560‑1644).
Above the altar
you can see a copy
of the painting
of Madonna of
Humility with Saints Peter and Dominic together with the
offerers Cangrande II della Scala and his wife Elisabetta by
Lorenzo Veneziano (1358-59).
21. THE BOLDIERI ALTAR. This is a fine piece of Renaissance
handwork dedicated to St. Peter Martyr.
On either side of the statue of this saint you can see those of
St. Sebastian and St. Rocco. The three statues are made in coloured
soft stone. It is worth noticing that St. Peter holds in one hand
a model of the city of Verona. As you look around you will see
frescoes by Antonio Badile II (1424‑1507).
ChieseVerona _ biglietto unico _ 100x70 mm
LE CHIESE STORICHE diVERONA
H I S T O R I C A L C H U R C H E S I N V E R O N A
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18. MINISCALCHI ALTAR. This altar is dedicated to the
Holy Ghost. The painting of the Descent of the Holy Ghost is
the work of Nicolò Giolfino (1476‑1555) and the lunette was
painted by Francesco Morone (1471‑1529).
To the right of the altar you will find the organ, built in 1625.
The carver Andrea Scudellino was commissioned by the
Dominican friar Vincenzo Squarcialupi to make the gilded
organ case showing the figures of Popes and Dominican saints.
The existing sound section was installed by the Veronese
organ‑builder Domenico Farinati.
20. THE FAELLA ALTAR. This is dedicated to St. Erasmus, the
first Bishop of Formia. The painting of the Holy Redeemer with
St. Erasmus and St. George on either side is the work of Nicolò
Giolfino (1476‑1555).
AS
VISIT OF THE INTERIOR
THE CHURCH OF
ST. ANASTASIA
V
San Zeno, Duomo, Santa Anastasia,
San Fermo
T
he church of St. Anastasia is a fine example of
Italian Gothic architecture. It was designed by two
Dominican friars, Fra Benvenuto da Bologna and Fra
Nicolò da Imola and work began on it from 1290 AD.
Work lasted throughout the 14 th and 15 th centuries and
by the early years of the 16th century the final stages of
building showed that the end was in sight. The only thing
never to be completed was the façade (but you can see a
model of the church in the painting above the Centrego
altar). St. Anastasia is the largest church in Verona.
The Basilica extends over three large aisles supported by
twelve impressive pillars in red Veronese marble. To the
left of the transept a splendid marble entrance opens onto
the Giusti chapel which was at one time the oratory of the
Dominican monastery.
The church soars to a great height and the interior is
impressive. A glance at the aisles, the vaulting and the
very lovely frescoes will make it clear that this is not only
a place of worship; it is virtually an art‑gallery which
contains many of the works of art Masters often mentioned
in art history books. The most important is Pisanello’s
well‑known fresco (St. George and the Princess) above
Pellegrini Chapel.
Associazione
Chiese Vive
Verona
1000 years of faith witnessed by art