Churches of Verona

712: 875:, which enabled the reconstruction of the main apse in 1361, while on its side after 1390 the Spolverini Dal Verme chapel was added, based on a design by Nicolò da Ferrara. The complex also had two cloisters, one of which has survived to the present day but was transformed in the 17th century to a design by Lelio Pellesina. Externally, the church still presents its simple Gothic terracotta guise, with a gabled facade punctuated by two low pilasters and crowned by small arches, and on which only later were added a portal and two biforas with a now Renaissance style; finally, also on the outside, the apsidal area and the bell tower are strikingly reminiscent of the Santa Anastasia example. The interior, on the other hand, was transformed and renovated in the 18th century so that it no longer presents the original features, except for the Spolverini Dal Verme chapel, equipped with a very rich decorative structure, with pilasters and 914:, one of the main Franciscan monuments in northern Italy. Precisely because of the continuing disputes between the Benedictines and the Franciscans, work was delayed and did not begin until the 14th century, so the transformations implemented were definitely under the influence of a mature Gothic style, which, however, avoided the use of architectural elements that were too complex or articulated. The works brought about numerous changes: for example, the space was reduced to a single nave in order to create an airy and solemn environment, which is why the perimeter walls were also raised and the hall covered by a characteristic and elegant wooden false ceiling in the form of an inverted ship's keel, in the Venetian style. In addition, the luministic aspect was turned upside down, raising the apse and opening three long monoforas, opening other tall windows along the nave, and making a wide 1424:. Also due to him, with the assistance in the execution of his cousin Bernardino Brugnoli, was the design of the bell tower. The tower was set on the solid foundations of the Romanesque belfry, which had been demolished for the occasion, although it seems that during the construction, in the absence of the architect, the bishop entrusted the direction of the work to others so as to speed up its completion, and yet upon reaching the belfry there was a partial collapse of the structure. Work resumed only upon the return of Sanmicheli, who made some changes to the original design, although the construction ended in 1579 and his project remained unfinished; the elevation of the belfry was resumed only in 1913 on the design of architect Ettore Fagiuoli, who reinterpreted Sanmicheli's style, but even on this occasion the work could not be completed, leaving the execution of the planned 1867:

social ones. Moreover, with the consolidated presence of the large church systems built between the 12th and 13th centuries, the moment of greatest religious building intensity in the city, and with the renovations carried out between the 15th and 17th centuries, the urban fabric of the city could now be said to be substantially saturated with religious architecture: in 1757 there were as many as 130 sacred buildings recorded. Of these, during the 18th century only about fifteen were affected by upgrading or renovation, and few were significant. In addition to this, several episodes led to the loss of a good part of these eighteenth-century transformations: the Napoleonic suppressions, the aerial bombardments of World War II, and some speculative interventions in the immediate postwar period, such as the demolition of the oratory of San Giacomo Maggiore, by

782: 1528: 1056: 1563: 1104: 1148: 1740:. The latter settled there in 1622, and only in 1627 did work begin on the renovation of the entire church building, which was completed rather quickly and consecrated in 1697. This is one of the few examples of the Veronese Baroque period, the design of which is due to the architect Lelio Pellesina and the direction of the work to his son Vincenzo; it traces the Counter-Reformation scheme of a single nave with a wide transept and side chapels; however, even in this work, perhaps also due to the failure to build the dome that would have given it more breadth and theatricality, an architectural and decorative style related to classical schemes is shown, with an interior space elegantly decorated by 1347: 1484: 450: 1318: 1718: 1648: 370: 545:, but also of the Cloister of the Canons, the baptistery of San Giovanni in Fonte, and the Church of Sant'Elena, the latter built over structures from Roman times. This complex became from the communal age a religious center with autonomous development with respect to the civil one, even from the urban point of view, so much so that it saw the layering of numerous structures over the centuries. The cathedral underwent several transformations over time, yet on the outside it still retains several aspects of the Romanesque church, especially in the lower part of the facade (raised in the 15th century), along the southern flank and in the apse area. The double 1004: 1930: 1251: 1903: 848: 2001: 1799: 605: 280: 125: 566: 770: 979:, including the bishopric, leading in some cases to even more degraded situations. From this time on, therefore, bishops and titulars of abbeys were no longer Veronese but Venetians, or at any rate people belonging to the most important aristocratic families of Veneto. Nevertheless, after a complex beginning, the situation slowly evolved and there was a flourishing of numerous ecclesiastical institutions not only financially or spiritually, but also in terms of artistic heritage, precisely due to the presence of the Venetian clergy and especially the Venetian religious congregations. In particular, the Venetian bishops 895: 883: 662: 1847: 77: 2061:. Although he drew on earlier models, demonstrating little compositional autonomy, he nevertheless succeeded in proposing for the new elevation an elegant result with well-thought-out proportional relationships. Less fortunate was the design of the plan layout, since longitudinally the usable space was limited by the alley behind, where the apse of the choir could not protrude: he could thus devise a single-aisle plan with only two chapels on each side, losing the tension that is characteristic of the Church of the Redeemer, from which he seems to have been inspired also in the decorative schemes. 1432: 956: 1203: 1289:

placed there the tombs of their relatives and who made use of those spaces for the suffrages of the dead; in other cases chapels or altars were instead purchased and built by the guilds of arts and crafts, which dedicated them to the worship of their patrons. These chapels could be simple altars located within niches, but in some cases they took on much larger proportions, until they became small churches placed at the flanks of the large one; it was a phenomenon that did not "spare" even the three large churches built in the fourteenth century by the

2026: 20: 332: 1950: 1756: 385:, whose construction began before the earthquake and ended in the 12th century. The peculiar building provided from the beginning for the superimposition of two churches identical in plan; while the upper church was rebuilt in the Gothic style, the lower one presents substantially intact the original appearance, with the aisles separated from the central one by an alternation of square pillars and cruciform pillars (although the nave, for technical reasons, was divided longitudinally by a series of slender pillars), and a short 1592: 1390: 483:, built from 1120 on the remains of an 8th-century building: this is one of the most valuable works of late Veronese Romanesque, where one can see the now achieved balance between plan and elevation, the use of the basilical plan with three naves separated by columns alternating with pillars, but with the renunciation, on the outside, of the chromatic alternation derived from the use of brick and tuff. In this case the external decoration is entrusted to the use of regular tuff ashlars and the classical 393: 206: 526: 738:

examples became less numerous and important; the churches that are built in this period therefore do not have such distinctly local features, rather they present cross-references to contemporary Lombard architecture, and the types of plans adopted are often to be found in the references of the religious orders that commissioned the work. The renewal of religious architecture in Verona is especially due to the establishment of new religious orders, which enjoyed the favor of the

1277:. They did not limit themselves to renovating the church, but also committed themselves to the adjoining monastery, where it is still possible to admire a fine cloister with red Verona marble columns and Renaissance capitals, crowned at the top by a terracotta frieze still in the Gothic style. The commitment of the patrons, who continued the building sites into the next century (as was the case with other buildings that were started during this period), was rewarded by 840:, from whom they obtained numerous privileges and donations, including the land on which the church of Santa Maria della Scala would later be built, which was named after the Veronese princes. From the first decades of the 14th century, it had a very simple volume and a plan with three very wide naves; towards the outside, all in terracotta, large windows opened in the facade and in the apse area. The building was almost razed to the ground by bombing in 1339:

Venetian Senate decided to make the city more secure from enemy attacks, so all buildings, including churches, monasteries, and even trees, located within a mile of Verona's Scaliger walls were completely demolished. Several settlements, even large ones, stood outside the city, making it impossible to avoid possible encirclement by enemies, who in fact had managed to reach the city gates in the past, particularly during the most difficult phases of the

2045:, although it was an intervention, somewhat like Montanari's at Santa Caterina alla Ruota, foreign to the city's architectural culture. The previous oratory was considered by the patrons to be too uncomfortable and cramped, so they opted for a radical renovation of the structure, the design of which was given to Michelangelo Castellazzi. He was soon replaced by the Venetian architect Andrea Camerata who, at a time when there had been a revival of 1686:, only two elements survive, the bell tower and the façade. The belfry was the only element that managed to save itself in its entirety, so it still towers in the middle of the historic center of Verona with its forty-foot height, next to the civic library: on the belfry cell it preserves the emblem of the Jesuits, namely the symbol "JHS" surmounted by a cross with the three nails of the passion, while along the shaft is the large statue of St. 2013:

construction in 1749, the original 15th-century apsidal area was retained at the request of the patron, thus grafting the new single-aisle plan with three chapels on each side, framed by a rhythmic truss of Ionic order; the corners of the interior space were eliminated by connecting the walls by means of oblique chamfers on which the rhythmic truss continued, thus giving greater spatial unity to the hall. The interior was covered by a lunetted

3798: 3786: 3810: 223:, the text attempted to redeem the pagan foundation of Verona by turning great attention to the sacred history of the town. This parallelism between the two cities was also celebrated several centuries later in the preface to the Statutes of the Municipality of Verona, written in 1450 by Silvestro Lando, a learned humanist, and in the city seal itself approved on February 26, 1474, where the inscription " 1178:, where the new congregations imported the new Renaissance architectural style into the city. The most substantial part of the building site of the first church took place between 1464 and 1466, work probably continued until the date of its consecration in 1483: this intervention resulted in a plan with three naves ending in as many apses, with the naves having six bays each and divided between them by 1922:, was rebuilt, from the work of which resulted a building of graceful proportions and elegant decoration. The interiors of the aforementioned church of San Luca and the church of Santa Maria del Paradiso, which was completed in the 19th century with the construction of the neoclassical facade, were then completed. Then, among the most important interventions were those for the transformation of the 703:, the first example of the use of this element in Verona, as well as in the abbey tower where the windows take on larger dimensions and the alternation of brick and tuff is replaced by the exclusive use of terracotta masonry. Both structures date mostly from the thirteenth century, thus to a phase now late and just prior to transformations, particularly political ones, that would involve the city. 1520:, while in 1525 work was resumed on the bell tower, designed by the friar himself but finished after his death by the stone mason Francesco da Castello who in all likelihood also directed work on the completion of the interior of the church building and the construction in 1517 of the Ionic cloister, of which only traces survive but which may be considered the first evidence in the Verona 797:

adopted. Construction of the new building began at the end of the 13th century, and the basic structures were finished in the third decade of the 14th century, although finishing work continued for a long time. Internally, the church is characterized by its division into three naves by means of mighty columns terminating in Gothic capitals, from which unravel arches and pointed

650:, a building that adequately closes the chapter on this era, a mature expression anticipating some Gothic motifs, whose delicate lexicon refers to the contemporary Emilian style rather than to the austere one that had marked architecture in the city up to that time. It was built throughout the 12th century, although its origins are earlier and hark back to the presence of the 446:

was elevated and the naves reduced to one during the transformations that the building underwent in the 16th century; traces of Romanesque construction are nevertheless evident on the exterior, as the elevated part has been plastered while the Romanesque part is characterized by the typical Romanesque Veronese face, with alternating courses of brick and tuff.

1834:, by the same author: this one too is covered with colored marbles, although only in the lower part, and these reproduce flat aedicules in the center of the side walls, while along the main elevation stands the high altar, of a similar type to the one present in St. Anastasia, with a tympanum supported by slightly protruding columns, but simplified. 810:

of the arches and interior vaults to the ground and accentuate the verticality of the building. The bell tower, also made of brick, introduces a new typology to the city that was very popular: verticality is emphasized by angular and intermediate pilasters that run throughout the shaft, divided into orders by elegant string-course

2068:, which in the 19th century continued only with restoration work involving some of the oldest church buildings. On the other hand, the building of new churches did not end in the neighborhoods that began to emerge outside the walls and in the hamlets that were later incorporated into the territory of the Municipality of Verona. 1779:, has a central and more precisely octagonal plan, with the hall covered by a flat ceiling supported by a strongly projecting corbelled cornice. Inside there are three rectangular chapels where complex and articulated altars are placed, of which the high altar, also by Giuseppe Pozzo, recalls the one designed by Guarini for the 300:, presents discrete and austere building complexes, absent of sculptural decoration. The Veronese style, in fact, is only partly related to that of Emilia while it finds some elements of Venetian influence: in particular from the lagoon, similarities can be found in the adoption of the basilica plan layout, the near absence of 2022:

after the Napoleonic suppressions, then transformed back into a place of worship in 1836 although now altered (however, the façade made by Montanari is preserved perfectly intact); the now lost dormitory of the monastery of San Salvatore in Corte Regia, admired by contemporaries and considered unparalleled in all of Italy.

1084:. On the other hand, a completely different style was used in the six chapels added in the last part of the building site, along the sides of the side aisles: in fact, these retain elements typical of a Renaissance spatiality, given by the presence of a large interior arch framed by two pilasters surmounted by a hint of 1088:. These are also characterized by a shell-shaped basin and by large painted architectures framing them, which only came to light again during the 1870s. Two side chapels of much greater size than those just mentioned were then planned, one on the southern and one on the northern side, and placed immediately before the 689:

but in quite different proportions. The salient facade is the most famous element, partly due to the presence of the famous bronze portal; it was built when the building was extended in the 13th century, constructed with the use of tuff and marble that create a more elegant color scheme than the more

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and equipped with oriented apses. The building has a stern and compact exterior, punctuated by massive buttresses and two tall cylindrical scalar towers that enclose the gabled facade; the two towers are a new element in Po Valley architecture and refer rather to the Nordic tradition. The interior is

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Other religious buildings built by Cristofali included: the church of Santa Lucia, facing along Stradone Porta Palio, built between 1743 and 1765 but of which only the façade remains, albeit altered; the church of San Tomio, renovated by him around 1748 but transformed into a theater by Luigi Trezza

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in architecture, thus incorporating a major disciplinary arrangement of iconography and religious architecture, artistic catechesis and Counter-Reformation figurative precepts. These provisions, which would constitute the Church's code for sacred art for centuries, were probably introduced in Verona

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Finally, the last church building designed by the Veronese master, the church of Madonna di Campagna, whose construction began in 1559, the year of the architect's death, and ended in 1589; precisely because of its posthumous completion, the building actually built may not fully reflect Sanmicheli's

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Sanmicheli intervened in two moments: first in 1540 to graft the imposing dome onto the now-complete building, and later in the design of the bell tower, again assisted by the architect Borelli and also in this case left unfinished. A few years earlier and by an unknown author, on the other hand, is

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open to illuminate the high altar. Externally, the façade is incomplete, yet it can be guessed how the exterior masonry was conceived as a skin for the interior space, as if it were a simple box enriched only with hanging arches and emphasized by large buttresses, which manage to channel the thrusts

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seigniory, whose religious architecture partly resumed the style and technique. However, whereas in the Romanesque period religious architecture had found an original local style and led to the construction of a large number of churches, in the Gothic period, between the 13th and 15th centuries, the

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began to give way to smoother, terracotta surfaces and simplified structures; Veronese Gothic architecture found its greatest expression in the flourishing of civil complexes and buildings, in castles and fortifications. The renewal of church structures and typologies took place in parallel with the

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by master Brioloto de Balneo. Finally, the interior, divided into three naves by arches set on massive columns and cruciform pillars, has a vastness that finds no reference in the city's other Romanesque churches. Clear introductions to the Gothic style can be found in the cloister, where the double

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has a plan typical of Norman and Burgundian architecture, with three naves ending in three apses, the central one of which is very deep and the side ones carved into the thickness of the wall. The monocuspidal facade is punctuated by four buttresses similar to those of San Lorenzo, though the church

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who, having returned from his Roman sojourn, worked in Verona on various religious and civil buildings. Among his works was, for example, the renovation of the church of San Pietro Incarnario, built on pre-existing buildings from the 10th and 15th centuries. In the building, which was already under

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in the 17th century, there were no longer the necessary conditions in Verona to give birth to new ambitious projects of religious buildings, which was not only due to the changed conditions of the religious order, particularly with the fading of the Counter-Reformation fervor, but also economic and

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Few were the noteworthy new buildings compared to those of the Romanesque period. However, beyond the church structures, the city acquired a Gothic character in those centuries especially due to the numerous military, residential, public and private buildings. Despite this, in the 15th century some

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is concerned, the transformation project actually originated in the second half of the 14th century but was only partially realized between 1444 and 1503, so architecturally the structure still appears to have a Gothic feel, especially because of the presence of bundled pillars from which the ribs

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and a supporter of the Bolognese Baroque school, as also evidenced by the design of the church's façade, which provoked several controversies and criticisms in an environment, the Veronese one, strongly respectful of local tradition. However, his solid professional skills enabled him to create an

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in which the city of Verona had participated with three companies of soldiers. The chapel shows itself as the first monument of a new style, by then of the 17th century, whose completion with the addition of frescoes, canvases, statues and colored marble to form a unified work of art, had to take

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This period saw the multiplication of chapels in the sides of churches, a phenomenon that had begun as early as the 14th century, but which from the 15th century onwards saw the demand for altars multiply; very often they were chapels for private use by wealthy families or by confraternities, who

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along the left aisle of the church: this is a room with a central plan covered by a dome, with two side niches and concluded by an apse equipped with a ribbed umbrella vault, this one of late Gothic style and probably the work of Beltrame di Valsoda. In this space there was the debut of the young

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patronage, although at the end of the century the building was ennobled by the construction, along the right flank, of some elaborate chapels: the Medici chapel, or of St. Anthony, and the Avanzi chapel, or of the Cross. At the same time as the work on the church, work was also carried out on the

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The Veronese Gothic style is thus the same whether it is used for religious or civil construction: masonry surfaces undergo further decorative simplification, however, being enriched with flatly carved ferrules and decorative arches; brick becomes an almost exclusive material of masonry, giving a

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building with a small dome covering the cross, a type of building that in the early Christian age was intended to contain the tomb of some important person or, as in this case, of a saint. However, the building has undergone some transformations over time that do not allow it to be admired in its

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style, used in the reconstruction of the affected churches. This event was so crucial for the city that the economic and social crisis that seized it immediately after the earthquake offered a new citizen class the opportunity to seize power, establish an autonomous form of local government, and

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In the meantime, in the large building sites that had begun in the second half of the 15th century, the main work on the masonry structures had been completed, however, the constructions continued in the 16th century with finishing and completion work; it was at this time that the best-known of

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was the most far-reaching Gothic achievement in Verona, a fundamental reference point on which the building of other Veronese churches would be based, not only because of the renovations made to the plan, but also and especially because of the use of brick masonry and the new type of bell tower

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portal, the work of the sculptor Niccolò, who perhaps also participated in the design of the building, is very valuable; the geometrically simple apsidal area is imposing, with the choir standing out against the scenery created by the interplay of nave and side aisles, and a slender verticalism

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by his successors; the new legislation brought some provisions for sacred buildings so that churches, monasteries and convents were adapted to meet the new requirements. A second factor that brought great upheaval to city building was the execution of the esplanades: between 1517 and 1518, the

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The whole of the first part of the century was therefore one of settling in and saw no great novelties from the architectural point of view, while a strong momentum occurred from the 1440s onwards when some of the abandoned, or almost abandoned, monasteries were entrusted to the aforementioned

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In the same period there were numerous other interventions, some lost, such as the church of San Fermo Minore, rebuilt in 1626 to a design by Lelio Pellesina, and others still present, such as the transformation in 1617 of the church of San Benedetto al Monte, which lost its original ancient

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Two other churches rebuilt in the same years are part of the complex: St. John's baptistery, consisting of a small church with three apsidal naves separated by arches on columns alternating with pilasters and covered by wooden trusses, at the center of which is the monumental octagonal

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and included in the walls of Verona only later, is particularly important for the history of the Veronese Church, as it was almost certainly an episcopal seat from the end of the fifth century until the bishopric of Annone in the eighth century. It was probably a building preceded by a

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was set, resolved in the corner joints; finally, the space was covered by a cross-vaulted ceiling and four large arches overlying the building's axes. The façade, endowed with an essentiality reminiscent of classicist purism, was characterized by four Ionic pilasters supporting a wide

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crowning the elevations. Then there is the construction technique of the walls, which becomes for a long period of time a constant, that is, the use in the masonry of courses in tuff ashlars alternating with courses in brickwork, which among other things create vivid color effects.

1748:, an object endowed with a powerful Baroque soul characterized by a tabernacle moved and articulated by a superimposition of columns in which the frontal view is substantially annulled. The facade was placed only after World War II, when the remains of the main elevation of the 1830:. Between 1610 and 1630, on the other hand, the chapel of the Madonna in the church of San Fermo was transformed, most likely to a design by Domenico Curtoni, and covered with a new architectural facing. The decoration is reminiscent of that of the chapel of the Rosary in the 1416:, that is, a partition conceived by the architect as a plastic structure in which the element of Venetian tradition is renewed by adopting a Renaissance plan; he thus obtained an autonomous structure of ellipsoidal plan, intended to protect and at the same time exalt the 1515:

separated by columns and massive pilasters. However, work in the monastery did not stop with the Sanmichelian facade, which was preceded in 1504 by the construction of the new sacristy, which a few years later was enriched with the famous espaliers with wooden inlays by

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original architectural layout, with a strong chiaroscuro accent given by the retreat of the central band of the façade and endowed with an exuberant decorative plasticism typical of the last phase of the Baroque, given by the use of recessed corner columns and broken

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by means of an elliptical enclosure designed in 1688 by architect Antonio Saletti. The churchyard is accessed through an elaborate entrance portal consisting of coupled columns on whose shafts draperies are tied, according to the style of the time, and on which the

2049:'s architecture in the Veneto, proposed, in a city that had never been sensitive to the style of the infamous Renaissance architect from Vicenza, a design that evidently referred to some of his Venetian churches. In particular, Camerata recovered the facade of the 1678:, and they could only return in 1656, when they completed the construction of the complex. Subsequently, the façade, which had already been started, was finished: it was characterized by an impeccable classical symmetry, which did not let one imagine the opposite 918:

in the center of the facade, from which a great deal of light bursts in. On the outside, the façade was renovated, where the Veronese tradition of alternating bands of tuff and terracotta was resumed, but above all the apsidal area was transformed, where the

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on the right and the church of St. Peter Martyr on the left, two of the most important examples of Veronese Gothic architecture; note the extensive use of terracotta and tall windows, as well as small arches under eaves, spires and pinnacles as decorative

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original appearance, particularly because of the addition of some spaces in the 14th century, when it became the funerary chapel of the Bevilacqua family and assumed a square floor plan; nevertheless, the church still retains its early Christian essence.

1818:. The former was built between 1618 and 1621, designed as a parallelepiped structure surmounted by a windowed cylinder, the interior of which is finely decorated with mannerist stuccoes reminiscent of those in the dome of the church of the Inviolata in 588:

but opened along two sides by a series of small arches set on coupled columns. The most characteristic part, however, is the belfry, with the typical bichromatic face of Veronese Romanesque architecture and a division into three orders by three rows of

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characteristics of Gothic churches continued to persist, especially in the exterior appearance, with the use of brick, tall monoforas and biforas, and the same type of bell tower, which went to mix with proto-Renaissance elements and styles, as in the

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complex, whose archaeological remains still survive and can be admired inside the church of St. Helena, particularly the notable mosaic floors. Other archaeological evidence includes the traces found during some excavations that uncovered a concentric

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Enzo Boschi; Alberto Comastri; Emanuela Guidoboni (December 2005). "The "exceptional" earthquake of 3 January 1117 in the Verona area (northern Italy): a critical time review and detection of two lost earthquakes (lower Germany and Tuscany)".

510:, and in the rhythm of the small arches of the cloister, of which, however, only one arm has survived. The interior of the church possesses a linearity, given by the three simple naves covered by wooden trusses, interrupted only by the raised 319:

capitals, thus repetitions of classical decorative elements that were easy to find in the city) leaning against the masonry in addition to the lack, in most cases, of horizontal architectural or decorative elements, except for the carved

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The 12th century was thus a flourishing period for Veronese architecture; both the high number of church buildings and their peculiarities make Verona's Romanesque architecture among the most notable despite being less well known than

1366:, entered the scene, and he was the third element of fundamental importance for the history of sacred buildings in this century for Verona, along with the two already mentioned. He was active in several building sites, such as in the 1882:

found wide resonance in the sphere of architecture, with efforts to re-establish classical models, which had never been completely abandoned in Verona due to the strong Sanmichelian tradition. Great efforts in this area were made by

202:. All these buildings, some of which were severely damaged by the Hungarian invasion of 932, underwent rather significant transformations in the following centuries, so that few material remains have survived untouched until today. 1343:, which took place between 1508 and 1516. The construction of the so-called "esplanade" around the city was a prerequisite for the reconstruction of most of these monasteries and churches within the perimeter of the city walls. 2017:

resting directly on the entablature, with large windows at the chapels. The façade, which, on the other hand, was not built to Cristofali's design, is characterized by a classical style but devoid of prominent elements.

1578:, the work of Domenico Curtoni, nephew and pupil of Sanmicheli. The work was carried out between 1585 and 1596 through donations collected by the confraternity based there, which wanted this work to celebrate the 1571 995:

were responsible for the introduction of these new congregations between 1409 and 1503, who renovated the existing church buildings from a building point of view; they also personally engaged in the renovation of the

866:, built on the site of an earlier building: work began in 1275 and the church was consecrated in 1331, although later the apsidal area was enlarged and lengthened through a large bequest from Diamante, wife of the 1809:

Even in this century, private chapels continued to be built within churches, endowed with spatial and figurative autonomy from the temples themselves; the two most important examples are the Varalli Chapel in the

262:, which caused extensive damage to most of the monuments, causing the substantial disappearance from the city of most of the early medieval testimonies; this fact, in turn, left room for a wide diffusion of the 1325:

While the second half of the 15th century in Verona was characterized by a renewal of ecclesiastical institutions, the 16th century brought the reorganization of religious life, especially of nuns, due to the

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Of the many buildings that were erected at the dawn of Christianity in Verona, not many vestiges remain; among the first is the early Christian basilica that was built in the fourth century at the present-day

1412:, where in the meantime renovation work was continuing, Sanmicheli was commissioned to design the presbytery enclosure, most likely designed in 1535 and executed in 1541. It is an "extreme" version of an 433:

that also runs along the counterfacade and not only at the side aisles. The latter are separated from the nave by arches imposed on cruciform pillars alternating with columns and are covered by a row of

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had made around the middle of the 10th century. These important written documents give an insight into which churches were already in existence at that time among which are especially mentioned the

1199:, who rejected that combination of a classical central plan and a Gothic apse, thus realizing a real painted architecture, of Renaissance style and contentious toward the apse made by Beltrame. 1119:, as is particularly apparent from its appearance, albeit incomplete, exterior, despite the fact that this building site, too, had been started in the second half of the century. Not even the 1321:

The plan of the city after the construction of the esplanades outside the walls, which caused the relocation of churches, convents, and monasteries within the perimeter of the fortified walls

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that in height occupy the entire wall; roofs are almost always wooden trusses over wide spaces, usually not divided into bays; verticalism is further accentuated, even in civic architecture;

1374:, designed by Sanmicheli. He worked on it from the last months of 1527, drawing on his extensive knowledge of classical models; the refined, centrally planned chapel was even described by 1775:

starting in 1666, but work on it continued so slowly that the facade was completed almost a century later. The building, designed by Giuseppe Pozzo, brother of the more famous architect

1048:. These thus became Verona's main fifteenth-century church-building renovation sites, along with those for the cathedral, begun in 1144, and those for the construction of the church and 3546: 3541: 3611: 3606: 219:, moreover, there was the first attempt to describe Verona as a small Jerusalem; with the intention of making the image of the city as close as possible to the ideal of purity of the 1706:, dividing the elevation into three vertical bands: the central one, where the main entrance portal opens, and the two side ones, which feature two smaller portals surmounted by two 3616: 3489: 1370:: at the same time that work on the convent was nearing completion, the building of new chapels on the right side of the church building was in full swing, including the monumental 1926:, whose Gothic interiors were reduced to a single hall in Baroque style, although later modifications isolated the Baroque insertions of altars and added more neutral decorations. 584:

congregation. The plan is rather simple although the major apse is flanked by two apsidal side chapels that go to form a pseudo-transept, while the façade is preceded by a covered

1914:

Before the rise of Enlightenment and neoclassical trends, however, there were other notable late Baroque episodes at the beginning of the century. In 1739 for example, the small

3758: 3651: 3631: 3581: 3484: 1937:

Another interesting intervention that stands out for its late Baroque style is the church of Santa Caterina alla Ruota, the work of the Bolognese Giuseppe Montanari, a pupil of

1899:, Girolamo Del Pozzo, Luigi Trezza and, in the next century, Bartolomeo Giuliari, Giuseppe Barbieri and Francesco Ronzani followed this trend, especially in civil construction. 817:

Along St. Anastasia Square, moreover, stands, as if it were a stage backdrop, the church of St. Peter Martyr; a simple brick structure punctuated by pilasters and crowned with

3706: 3666: 3596: 690:

lively early Romanesque one in the city. It is interrupted by a band of biforas running the length of it, punctuated by a series of pilasters, while in the center opens the

1503:, the work of which he was commissioned by Abbot Cipriani. Completed in 1592 only in the lower part, the Veronese master devised a monumental marble facade inspired by the 627:, its enlargement and repairs in the Romanesque period led to the construction of a new façade where all the stylistic features of Veronese Romanesque can be seen, while a 3737: 2090:, that is, between those located within the magistral enclosure, in the four districts of the Old Town, Veronetta, Cittadella and San Zeno, and those located outside it. 255:

stands, from the barren Mount Cavro, where the church of San Rocchetto stands. It was formerly known as the Church of the Holy Sepulchre and where three crosses stood.

3753: 677:, can be sensed by admiring the long southern front with its slopes covering the aisles of the church. To the earliest period of the building site dates the imposing 1666:

to Verona in 1577, who the following year already managed to open schools in some buildings along Via Cappello, obtained through a decree later confirmed in 1580 by

1243:

the year before. In the meantime, work was also done in the monastery, particularly on the construction of a second cloister, of which only five round arches set on

558:, a work attributed to Brioloto de Balneo and his workshop; and then the small church of St. Helena, with a single hall covered by trusses and illuminated by narrow 1570:

In this century, as in the previous one, many churches were endowed with valuable chapels; among the most notable, in addition to the one already mentioned in the

239:, finding several similarities between the ancient forms of Verona and Jerusalem. In Jerusalem, the Cedron stream flowing outside the walls separates the hills of 3661: 3479: 931:

were raised. The back thus takes on an elaborate late Gothic style, which finds many affinities in the decidedly Nordic and almost fairytale-like complex of the

287:

features several elements typical of Veronese Romanesque architecture, such as the alternation of tuff and brick courses, the use of buttresses and eave cornices

117:

and with a single-aisle plan ending in an apse; definitely unusual for the single-aisle layout, since most early Christian churches were characterized by three

3722: 3551: 681:

that stands out to the south of San Zeno, built in alternate rows of tuff and brick, subdivided into orders by hanging arches and crowned by a double order of

1559:. Also distinctive is the fact that while the exterior of the church appears circular (though actually more like an oval) the interior has an octagonal plan. 1227:, on the other hand, evidently makes reference to Venetian architecture, as the congregation that took possession of it was Venetian; it was begun in 1477 by 3626: 1480:

covering the perimeter corridors; the cloister thus demonstrates a simple and still unripe design, albeit well harmonized with the surrounding structures.

1795:

stands; along the inner elevation of the enclosure are several niches that may have housed statues, although there is no evidence of their past presence.

1619:, who also settled in Verona during the same period, where they built new churches and convents alongside existing ones. Meanwhile, the provisions of the 227:" appeared. Going back to the early Middle Ages, it was mainly the image of the city that dictated the terms of comparison with Jerusalem, and during the 872: 94:

of Saints Teuteria and Tosca, adjacent to the apse of the church just mentioned, much of the 5th-century masonry of which has survived: it is a typical

3591: 389:

with apses oriented in the same direction as the three major apses, placed at the aisles. Finally, the space is covered by a dense cross-vaulted roof.

1468:, which have a pitch half as long as that of the colonnade on the lower level. At the bottom it still has, like the medieval cloisters of Verona, the 1386:, of which he made only the drum and dome, in the church of the Madonna di Campagna, and in the temple set in the center of the Lazzaretto in Verona. 673:

The importance of the abbey's main building, which faces Piazza San Zeno, enclosed on the left by the abbey tower and on the right by the Romanesque

711: 3108: 2985: 2592: 1964:

A work of great classicist rigor, on the other hand, was the church of San Giacomo Maggiore, better known as San Giacometto, built in 1756 by

1690:, founder of the Order. The facade, on the other hand, was severely damaged, so it was dismantled and relocated to the main elevation of the 3086: 1968:

but demolished after World War II; it was a small oratory with a square plan and two side niches where minor altars and a large rectangular

3451: 3681: 2383: 3840: 1265:

where the interior was renovated in Renaissance forms, with the reconstruction of the aisles and side chapels, possibly by the architect

420:. The former presents a plan similar to that of the lower church of San Fermo, with the transept whose short arms are articulated in two 550:

propelled by the lack of horizontal elements and the presence of slender lesenes with Corinthian capitals, decorated with animal heads.

487:

that crowns some elevations. The greater classical sensibility can be seen in particular in the amplitude of the emerging masses of the

1140:. Particularly valuable work was the large rectangular hall, which was initially used as a library, but was emptied and frescoed by 1382:

was built in this structure, a characteristic element of Sanmichelian architecture that he employed in several later works: in the

593:

in tuff, and a slender pilaster running along the entire shaft; on the belfry cell, surmounted by a conical roof, there are three

1190:

along the side aisles, with cross-vaulted roofing. At a later stage, starting in 1488, further work involved the building of the

777:, characterized by the large cylindrical pillars with Gothic capitals and the great spatiality and brightness of the environment 1166:, however, made its entry into Verona more decisively with the reconstruction and renovation of the aforementioned churches of 1744:

pilasters and seventeen niches in the walls where various statues find their place, except in the design of the high altar by

923:

became more elaborate and decorative, with the use of Lombard bands, tracery, and circle motifs, and a large number of cusps,

746:

warm color to the buildings that characterize the city to this day; openings become larger in size, with round arches or tall

2050: 1033: 1562: 1993:. The architect took up the same refined classicist composure in the 1763 design of the façade and interior of the nearby 580:, a picturesque corner of the city set on a small rise that gives its name to the building, which was commissioned by the 3830: 1752:

were reused and reintegrated with the missing parts, thus saving a part of the monument that was destined to disappear.

781: 1887:, Maffei's friend and pupil, who sharply criticized Baroque poetics and in 1735 published Michel Sanmicheli's treatise 1371: 1351: 975:

from the top of the ecclesiastical hierarchies, was not easy, all the more so because the major institutions went into

3641: 2173: 1863: 1780: 1733: 1722: 1691: 1656: 1543:

asserts that there are some substantial differences. The church, with a central plan, is surrounded by an interesting

1527: 1210:, one of the most important Renaissance relics in Verona, partly because of the many works of art it holds, including 1055: 3646: 2237: 1994: 1954: 1823: 404:

Significant for the development of the communal city were two complexes that were built on the flanks of the ancient

1269:, who in previous years worked on the cloister of the convent of San Bartolomeo in Rovigo and the bell tower of the 106:, which underwent, however, some transformations in the early medieval and Romanesque periods; this building, built 3444: 2409: 1186:

pilasters on which the girdle arches of the vaults are set. However, one can still note the presence of transverse

542: 28: 1127:; the interior, with a single nave, has rather limited architectural qualities, perhaps due to the modesty of the 728:

occurred in the 13th century, at first involving not church buildings but rather relative outbuildings, where the

3727: 2216: 2155: 1452:

the realization of the rectangular cloister located at the side of the church, characterized by a first level of

1239:, and who in Verona was asked, among other things, to design the Loggia del Consiglio, which had been erected in 480: 454: 171: 1874:

However, interventions in religious buildings of the eighteenth century in Verona were not of little value; the

1103: 3732: 3686: 2167: 1915: 1616: 121:, although it finds several examples in other contemporary religious buildings in Lombardy and central Europe. 971:, and from the point of view of religious institutions: the beginning of the century, with the removal of the 3621: 3571: 2227: 2211: 1682:

used in the interior spaces. Of this church building, which was bombed and almost razed to the ground during

1500: 1488: 1448: 1436: 1383: 1262: 1255: 1224: 1216: 1207: 1175: 1171: 1037: 1029: 195: 3701: 2316: 686: 577: 570: 358:. The interior of the church building is characterized by three naves separated by two rows of columns with 252: 3636: 3576: 3515: 2275: 2232: 2140: 1787: 1472:

in plastered masonry surmounted by a simple stone cover, while at the top the columns support, by means of

1340: 1167: 1156: 1021: 968: 666: 647: 297: 191: 3437: 1547:

that Sanmicheli wanted not only to provide cover, but also to recall classical Roman temples such as the

654:, which was so influential that it caused the emergence of the village of the same name outside Verona's 311:

Other features found in Veronese Romanesque include the marked verticality given by the external use of

308:; the types of plans, however, also find some parallels in the Cluniac architecture of northern France. 235:

who gave impetus to the architectural renewal; it was therefore at that time that it was given the name

3776: 3601: 3561: 2150: 2127: 1815: 1346: 1298: 1240: 1147: 911: 887: 382: 374: 343: 336: 179: 167: 1378:

as the most beautiful in Italy. What is certain is that for the first time in Verona, a dome set on a

3691: 3510: 3505: 2256: 2106: 2058: 2038: 1969: 1892: 1879: 1851: 1846: 1831: 1575: 1294: 1270: 1228: 1196: 1116: 1041: 940: 793: 774: 716: 651: 639:

cross with the nave, incorporates a small dome and is distinguished by the presence of two orders of

1938: 1483: 1124: 988: 859: 562:, whose construction system echoes the alternation of bands of tuff ashlars and courses of bricks. 449: 199: 814:, covered no longer with the characteristic Romanesque conical pine cone but with a ribbed spire. 3566: 3556: 3082: 2135: 2122: 2042: 2030: 1943: 1923: 1907: 1792: 1717: 1703: 1647: 1302: 1025: 863: 852: 729: 263: 228: 183: 2004:

The interior of the church of San Pietro Incarnario before the twentieth-century transformations

1250: 502:), and is repeated in the size of the bell tower, connected to the building by means of a large 3802: 3763: 3536: 3531: 2280: 2187: 2114: 1859: 1749: 1694:, which had remained unfinished since the 17th century. It is distinguished by the four fluted 1671: 1652: 1596: 1571: 1517: 1367: 1120: 1108: 1049: 944: 499: 469: 442: 417: 369: 359: 259: 70: 1902: 1655:, was dismantled after the war and reassembled in front of another 17th-century building, the 1317: 1003: 847: 3696: 3671: 2261: 2251: 1929: 1919: 1811: 1803: 1674:, however in 1606 they were forced to leave Verona because of an interdict that affected the 1128: 1077: 903: 747: 655: 640: 624: 617: 585: 507: 409: 284: 129: 103: 959:

The Renaissance facade of the Bishop's Palace, commissioned by Venetian bishop and cardinal

565: 2000: 1973: 1875: 1798: 1772: 1679: 876: 844:, from which only the bell tower, the perimeter walls and the Guantieri chapel were saved. 604: 301: 279: 124: 910:

in 1260 following some disputes, are finally responsible for the Gothic renovation of the

8: 3790: 3656: 3586: 2404: 2285: 2208:

Church of Santa Chiara, deconsecrated in the Napoleonic era and again in the 20th century

2145: 1628: 1504: 1331: 984: 769: 725: 674: 413: 397: 351: 232: 187: 76: 42:

worship that have been built within the administrative boundaries of the municipality of

1637: 832:

Another religious order that took on great importance in the same years was that of the

2009: 1896: 1687: 1675: 1492: 1440: 1363: 1355: 1202: 1137: 1017: 894: 882: 826: 661: 421: 1946:: these elements, well orchestrated, succeeded in creating an original urban setting. 90:

The oldest building that has come down to us almost intact, on the other hand, is the

46:, evidence of the ups and downs that the city has experienced throughout its history. 1965: 1958: 1884: 1868: 1737: 1667: 1579: 1512: 1398: 1244: 1191: 1152: 503: 350:

family, built next to it, which became their personal chapel, a small masterpiece of

305: 1710:, and above them niches surmounted in turn by small panels decorated with classical 1431: 955: 669:, the highest expression of mature Romanesque in Verona, clearly derived from Emilia 3474: 2100: 1854:, distinguished humanist who influenced the cultural climate of 18th-century Verona 1741: 1632: 1624: 1409: 1394: 1335: 1290: 1282: 1236: 1068: 1060: 1008: 997: 992: 960: 613: 538: 530: 496: 466: 342:

Among the most striking examples of this flourishing religious architecture is the

316: 293: 268: 215: 163: 146: 61: 24: 3835: 2046: 1745: 1726: 1641: 1604: 1586: 1548: 1266: 1141: 1081: 837: 790: 331: 296:, probably because Veronese Romanesque, with the sole exception of the exuberant 244: 182:

in its vicinity. Within the walls the documents also mention the presence of the

39: 274: 3676: 2311: 2064:

With this century the religious building period essentially ended for the city

1819: 1786:

Another interesting intervention was the construction of the churchyard of the

1768: 1760: 1540: 1375: 1309:

on the flanks were gradually closed in order to make room for the new chapels.

1278: 1211: 932: 581: 555: 355: 151: 144:

times, buildings mostly known from two important records from that period: the

114: 2025: 19: 3824: 3351: 1949: 1755: 1636:

while Borromeo was still alive, as he had the influential Veronese clergyman

1574:, is the so-called Chapel of the Rosary, located along the left aisle of the 1556: 1402: 1389: 967:

The 15th century was a century of great changes both politically, because of

833: 220: 1736:

as a concession to the Theatines, which was confirmed the following year by

1100:, in place of the basilical one that characterized the Romanesque building. 166:, the baptistery of San Giovanni in Fonte, the church of Sant'Elena and the 3814: 2161:

Church of Santa Maria Consolatrice, Waldensian evangelical place of worship

2086: 2054: 2014: 1838:

features, and the modernization started in 1656 of the church of San Luca.

1776: 1683: 1627:, archbishop of Milan, were introduced into the diocese: this was the only 1591: 1460:

which, along the northern side, doubles in height due to the presence of a

1187: 907: 841: 818: 700: 646:

The highest example of Veronese Romanesque, however, is represented by the

590: 405: 392: 205: 108: 825:, while the interior, with a single hall, is divided into two large, airy 706: 209:

The Raterian Iconography, the oldest known depiction of the city of Verona

1985: 1981: 1699: 1695: 1532: 1521: 1465: 1453: 1413: 1183: 1179: 1163: 1097: 1085: 868: 695: 525: 95: 1312: 522:

openings over the nave recreates the original and evocative atmosphere.

3422: 1997:, the execution of which was completed by others with few differences. 1933:

The church of Santa Caterina alla Ruota, the work of Giuseppe Montanari

1232: 980: 915: 785:

Rib vaults covering the nave, with oculi directly illuminating the nave

678: 576:

In an isolated position (when it was built), on the other hand, is the

1111:, still characterized by a Gothic style except for the entrance portal 1076:, in a manner very similar to that which had been experimented in the 1016:

congregations, which were very active in the other territories of the

3429: 1612: 1477: 1469: 1457: 1417: 1379: 1274: 1073: 1045: 1020:

and were waiting to be able to find new space in Verona: in 1442 the

798: 643:; it recalls a type of element found especially in the Lombard area. 598: 546: 435: 430: 363: 159: 82: 3797: 1990: 1707: 1306: 1133: 1093: 976: 972: 924: 806: 805:

ends in a row of five apsidal chapels, and in the central one high

802: 759: 751: 739: 734: 636: 632: 609: 559: 519: 386: 347: 137: 91: 3414: 3356:

Ricerche storiche intorno alla chiesa di Santa Anastasia in Verona

2184:

Church of San Salvatore Vecchio, Russian Orthodox place of worship

1524:

of the assumption of a Roman and classical model by an architect.

1040:, formerly of the Benedictines and initially given in commenda to 102:

Also to the same century belong vast portions of the walls of the

2181:

Church of San Pietro Martire, deconsecrated in the Napoleonic era

1841: 1827: 1711: 1663: 1608: 1544: 1421: 1231:, an architect who worked in Venice on the building sites of the 1089: 1063:, surrounded by the painted architecture of Gian Maria Falconetto 920: 811: 682: 594: 511: 324: 240: 3113:

Le chiese delle diocesi italiane, Conferenza Episcopale Italiana

2990:

Le chiese delle diocesi italiane, Conferenza Episcopale Italiana

2597:

Le chiese delle diocesi italiane, Conferenza Episcopale Italiana

2347:

Church of St. John in Sacco, demolished in the sixteenth century

862:, on the other hand, were responsible for the renovation of the 362:

in the shape of an inverted pyramid, with the aisles covered by

3406: 2399: 2242:

Church of St. Peter in Castello, demolished in the 19th century

2077: 1977: 1640:

as his vicar-general and collaborator and the Bishop of Verona

1508: 1473: 1461: 1425: 699:

archivolt arches supported by marble columns are, in two arms,

492: 484: 462: 458: 312: 141: 43: 3785: 1587:

17th century: between classicist tradition and baroque renewal

1420:

presence, previously housed in a storeroom at the side of the

1011:, characterized by its bundled pillars and ribbed cross vaults 928: 822: 763: 755: 515: 476: 275:

Post-earthquake reconstruction: the Veronese Romanesque style

248: 175: 54: 2305:

Church of St. Dominic, evangelical Lutheran place of worship

518:

finds its place, while the dim natural lighting from narrow

1552: 950: 623:

Returning across the Adige River and to the aforementioned

488: 321: 118: 66: 2132:

Church of San Fermo Minore, demolished in the 19th century

1670:. In 1591 they finally managed to build their temple, the 1531:

The church of Madonna di Campagna in a 1972 photograph by

1281:, who even exempted them from making contributions to the 1247:

columns have survived, visible by the apse of the church.

150:, a composition in rhythmic prose datable to the reign of 3374:

Ritratto di Verona: lineamenti di una storia urbanistica

1662:

In addition, Cardinal and Bishop Valier introduced the

1334:

and the subsequent introduction of the dictates of the

707:

13th and 14th centuries: the transition to Gothic style

1603:

In the years between the 16th and 17th centuries, new

1566:

The chapel of the Rosary, the work of Domenico Curtoni

1080:

in Bologna and which would later be developed for the

346:, famous above all because the princes of Verona, the 3774: 1313:

16th century: Sanmicheli and the Veronese Renaissance

2593:"Battistero di San Giovanni in Fonte <Verona>" 2076:The following is a list of the churches present in 1878:trends spread in the local culture by the humanist 457:, with the projecting apses crowned with classical 366:and the nave originally covered by wooden trusses. 1261:A little later there was the start of work in the 1096:, thus transforming the plan of the church into a 541:, consisting not only of the mother church of the 267:establish in Verona one of the first free Italian 3327: 2986:"Chiesa di Santa Maria della Pace <Verona>" 2492: 80:The small sacellum of Saints Teuteria and Tosca, 3822: 3344:Architettura a Verona nell'età della Serenissima 2642: 2640: 1495:at the bottom and the Romanesque part at the top 1115:Another building still manifestly Gothic is the 685:, thus re-proposing the typology of that of the 136:Numerous churches and monasteries were built in 3109:"Chiesa di San Nicolò all′Arena <Verona>" 2071: 438:, while the nave is covered by wooden trusses. 425:also extremely peculiar due to the presence, a 2978: 1842:18th century: rigorist and neoclassical trends 1631:treatise aimed at applying the decrees of the 1028:, a Paduan congregation; in the same year the 836:, placed under the direct protectorate of the 3445: 3394:. Verona: Società cattolica di assicurazione. 3167: 3165: 2944: 2942: 2940: 2855: 2853: 2828: 2826: 2813: 2811: 2637: 2615: 2613: 1976:were located. The interior was punctuated by 1599:, the only element that survived World War II 1273:in Ferrara, all monasteries belonging to the 742:family, princes of Verona, and the nobility. 381:Among the oldest Romanesque buildings is the 225:Verona minor Hierusalem di(vo) Zenoni patrono 3342:Pierpaolo Brugnoli; Arturo Sandrini (1988). 2503: 2501: 2428: 2426: 2424: 1034:Venetian congregation of San Giorgio in Alga 2317:Church of the Holy Trinity in Monte Oliveto 2103:, cathedral church of the diocese of Verona 1499:Sanmicheli next designed the facade of the 578:church of the Holy Trinity in Monte Oliveto 537:A complex of great interest is that of the 198:, the latter under the jurisdiction of the 3452: 3438: 3162: 2937: 2850: 2823: 2808: 2610: 597:with paired columns supporting the double 55:From the origins to the earthquake of 1117 2498: 2421: 2190:, which was destroyed during World War II 2037:The most significant episode in Veronese 1858:After the great building ventures of the 1814:and the Chapel of the Madonna in that of 1393:The Sanmichelian presbytery enclosure in 3341: 3303: 3279: 3267: 3255: 3231: 3219: 3183: 2384:Church of St. Theresa of the Child Jesus 2024: 1999: 1948: 1928: 1901: 1845: 1797: 1763:with the baroque altar by Giuseppe Pozzo 1754: 1716: 1646: 1590: 1561: 1526: 1482: 1430: 1388: 1345: 1316: 1249: 1201: 1146: 1102: 1059:The Renaissance Calcasoli Chapel at the 1054: 1002: 954: 951:15th century: the great renovation sites 893: 881: 846: 780: 768: 710: 660: 631:in the Verona panorama is the octagonal 603: 564: 524: 448: 400:with the two scalar towers on the facade 391: 368: 330: 278: 204: 123: 75: 18: 3567:San Fermo Minore di Brà (dei Filippini) 1910:, renovated in Baroque forms since 1739 1144:, after whom the room itself is named. 294:Lombard-Emilian Romanesque architecture 3823: 3459: 2350:Church of St. Joseph Outside the Walls 1889:Li cinque ordini d'architettura civile 1132:convent, organized around three large 192:monasteries of Saints Nazaro and Celso 3433: 3362: 3033: 3021: 3009: 2170:, deconsecrated in the Napoleonic era 2041:was probably the construction of the 1182:pillars on high bases, which support 461:and with the one on the right having 258:A turning point was the catastrophic 3089:from the original on 26 October 2019 1824:basilica of Santa Maria delle Grazie 1397:and in the background the fresco by 898:The elaborate cornices of the church 715:The St. Anastasia complex, with the 571:Holy Trinity Church in Monte Oliveto 479:, in the Veronetta district, is the 3376:. Verona: Banca Popolare di Verona. 3363:Paul Davies; David Hemsoll (2004). 3346:. Verona: Banca Popolare di Verona. 3323:. Verona: Banca Popolare di Verona. 2371:Church of St. Michael the Archangel 2302:Church of Santa Caterina alla Ruota 2221:Church of the Madonna del Terraglio 2193:Church of Saints Teuteria and Tosca 2111:Baptistery of San Giovanni in Fonte 2059:church of San Francesco della Vigna 1995:church of San Paolo in Campo Marzio 1350:The first order of the Renaissance 475:Moving on to the other side of the 231:it was particularly the archdeacon 13: 3841:Buildings and structures in Verona 3083:"Il campanile scampato alle bombe" 2224:Church of Santa Maria del Paradiso 2053:and drew some variations from the 1802:The dome of the Varalli Chapel in 1256:monastery of Santa Maria in Organo 1092:to make them assume the role of a 1038:monastery of Santa Maria in Organo 1030:monastery of San Giorgio in Braida 377:, also known as the "lower church" 251:separates Mount Olivet, where the 180:Benedictine monastery of San Fermo 14: 3852: 3399: 2356:Church of the Madonna di Campagna 2338:Church of Saints Philip and James 2257:Church of San Tomaso Cantuariense 2233:Church of Saints Nazaro and Celso 2164:Church of Santa Maria della Scala 2156:Church of Santa Maria in Chiavica 2136:Church of San Fermo Minore di Brà 2043:church of San Fermo Minore di Brà 2031:church of San Fermo Minore di Brà 1428:crowned with a spire unfinished. 1401:based on preparatory drawings by 1157:church of Saints Nazaro and Celso 1136:and one smaller one, directed by 1117:church of San Tomaso Cantuariense 1022:monastery of Santi Nazaro e Celso 941:church of San Tomaso Cantuariense 429:for Po Valley architecture, of a 164:church of Santa Maria Matricolare 3808: 3796: 3784: 3390:Giuseppe Franco Viviani (2002). 2410:Roman Catholic Diocese of Verona 2332:Church of St. Andrew the Apostle 2248:Church of Saints Siro and Libera 2119:Church of San Benedetto al Monte 2051:basilica of San Giorgio Maggiore 733:building flourishing during the 132:, dating back to the 5th century 3331:Journal of Geophysical Research 3312: 3297: 3285: 3273: 3261: 3249: 3237: 3225: 3213: 3201: 3189: 3177: 3150: 3138: 3126: 3101: 3075: 3063: 3051: 3039: 3027: 3015: 3003: 2966: 2954: 2925: 2913: 2901: 2889: 2877: 2865: 2838: 2796: 2784: 2772: 2760: 2748: 2736: 2724: 2712: 2700: 2688: 2676: 2664: 2652: 2625: 2585: 2573: 2561: 2549: 2537: 2374:Church of Saints Peter and Paul 2341:Church of St. Francis of Assisi 2323: 2228:Church of Santa Maria in Organo 2217:Church of San Giovanni in Valle 2212:Church of San Giorgio in Braida 2178:Church of San Pietro Incarnario 1555:and the Temple of the Sibyl in 1501:church of Santa Maria in Organo 1449:church of San Giorgio in Braida 1437:church of San Giorgio in Braida 1384:church of San Giorgio in Braida 1263:church of Santa Maria in Organo 1225:church of San Giorgio in Braida 1208:church of San Giorgio in Braida 1123:can certainly be said to be of 569:The bell tower and apse of the 491:(of which the northern one has 481:church of San Giovanni in Valle 455:church of San Giovanni in Valle 172:church of San Giovanni in Valle 170:in the oldest center, then the 3385:. Verona: Centro RinasHarvtxt. 2525: 2513: 2486: 2474: 2462: 2450: 2438: 2344:Church of St. John the Baptist 2290:Church of San Zeno in Oratorio 2174:Church of San Nicolò all'Arena 2141:Church of San Giovanni in Foro 2008:A more prolific architect was 1788:church of Santi Nazaro e Celso 1781:church of San Nicolò all'Arena 1734:church of San Nicolò all'Arena 1723:church of San Nicolò all'Arena 1692:church of San Nicolò all'Arena 1657:church of San Nicolò all'Arena 1651:The façade, originally of the 1539:original designs, or at least 762:are frequently used above the 304:and the use, instead, of wide 190:, while outside the walls the 1: 3319:Giorgio Borelli, ed. (1980). 2415: 2365:Church of Our Lady of Lourdes 2362:Church of San Martino Vescovo 2359:Church of Santa Maria Assunta 2295: 1891:, anticipating the themes of 890:, rich in cusps and pinnacles 416:and the previously mentioned 315:and half-columns (often with 3682:Santa Teresa di Gesù Bambino 3415:"Verona. Le chiese storiche" 3389: 3380: 3350: 3321:Chiese e monasteri di Verona 3318: 3291: 3243: 3207: 3195: 3171: 3156: 3144: 3132: 3069: 3057: 3045: 2972: 2960: 2948: 2931: 2919: 2907: 2895: 2883: 2871: 2859: 2844: 2832: 2817: 2802: 2790: 2778: 2766: 2754: 2742: 2730: 2718: 2706: 2694: 2682: 2670: 2658: 2646: 2631: 2619: 2579: 2567: 2555: 2543: 2531: 2519: 2507: 2493:Boschi, Comastri e Guidoboni 2480: 2444: 2432: 2201: 2151:Church of Santa Maria Antica 2128:Church of San Fermo Maggiore 2072:List of churches by district 1341:war of the League of Cambrai 1007:The late Gothic interior of 888:church of San Fermo Maggiore 635:, which is grafted onto the 408:, a road that extended from 383:church of San Fermo Maggiore 375:church of San Fermo Maggiore 344:church of Santa Maria Antica 337:church of Santa Maria Antica 260:earthquake of Verona in 1117 247:. Similarly, in Verona, the 168:church of Santa Maria Antica 7: 3367:. Milano: Mondadori Electa. 2393: 2353:Church of Santa Lucia Extra 2335:Church of St. Anthony Abbot 2268: 2115:Church of the Holy Apostles 2107:Basilica of Saint Anastasia 2093: 1953:The neoclassical facade of 1721:The presbytery area of the 1576:basilica of Santa Anastasia 1044:, was given in 1444 to the 969:Verona's devotion to Venice 495:crowned by finely sculpted 443:Church of the Holy Apostles 184:monasteries of St. Euphemia 71:Church of the Holy Apostles 10: 3857: 3831:Lists of churches in Italy 3371: 2468: 2456: 2245:Church of St. Peter Martyr 1860:churches of San Sebastiano 1767:Another Baroque church is 612:, reminiscent of those in 533:, the 1139 work of Niccolò 412:into the countryside: the 253:church of the Holy Trinity 69:in the foundations of the 49: 27:, cathedral church of the 3746: 3715: 3677:Santa Teresa degli Scalzi 3647:San Paolo in Campo Marzio 3547:Cuore Immacolato di Maria 3542:Santa Caterina alla Ruota 3524: 3498: 3467: 3423:"Verona Minor Hierusalem" 3381:Giovanni Solinas (1981). 2039:neoclassical architecture 1893:neoclassical architecture 1832:basilica of St. Anastasia 1769:Santa Teresa degli Scalzi 1725:, with the high altar by 1408:A few years later in the 1197:Giovanni Maria Falconetto 1072:unravel that overlap the 1050:convent of San Bernardino 1024:was entrusted to that of 1000:and the Bishop's Palace. 912:upper church of San Fermo 794:basilica of St. Anastasia 775:basilica of St. Anastasia 717:basilica of the same name 506:reminiscent of the Roman 16:Churches of Verona, Italy 3612:Santa Maria del Paradiso 3607:Santa Maria Consolatrice 2281:Church of San Bernardino 2123:Church of Saint Euphemia 2080:, divided between those 2055:basilica of the Redeemer 1750:church of San Sebastiano 1732:In 1602 Valier gave the 1672:church of San Sebastiano 1653:church of San Sebastiano 1623:drawn up in 1577 by St. 1597:church of San Sebastiano 1572:church of San Bernardino 1368:church of San Bernardino 1354:, the work of architect 1305:, where the tall Gothic 1121:church of San Bernardino 1109:church of San Bernardino 963:in the late 15th century 945:church of San Bernardino 886:The apsidal area of the 418:church of Santi Apostoli 3728:Santa Maria di Chiavica 3692:San Tomaso Cantuariense 3617:Santa Maria della Scala 3506:Sant'Anastasia Basilica 3372:Lionello Puppi (1978). 2377:Church of San Rocchetto 2262:Church of Santa Toscana 2188:Church of St. Sebastian 1812:church of Santo Stefano 1476:set into the wall, the 1217:Martyrdom of St. George 625:church of Santo Stefano 285:church of Santo Stefano 229:Carolingian Renaissance 3733:San Matteo con Cortile 3716:Deconsecrated churches 3687:Sante Teuteria e Tosca 2034: 2005: 1961: 1934: 1924:church of St. Euphemia 1911: 1908:church of St. Euphemia 1855: 1806: 1764: 1729: 1659: 1621:Instructiones fabricae 1600: 1595:The bell tower of the 1567: 1535: 1518:Fra Giovanni da Verona 1496: 1444: 1405: 1358: 1322: 1258: 1220: 1159: 1112: 1078:church of San Petronio 1064: 1012: 964: 899: 891: 879:in the apsidal basin. 864:church of Sant'Eufemia 855: 853:church of St. Euphemia 786: 778: 721: 670: 620: 573: 534: 472: 401: 378: 339: 288: 210: 188:church of St. Lawrence 133: 87: 31: 3759:San Giovanni in Sacco 3652:San Pietro Incarnario 3632:San Michele Arcangelo 3622:Santa Maria in Organo 3582:San Giovanni in Valle 3572:San Giorgio in Braida 3490:Biblioteca capitolare 3485:San Giovanni in Fonte 3337:. Washington: 84–124. 2368:Church of St. Maximus 2286:Church of San Procolo 2252:Church of St. Stephen 2146:Church of San Lorenzo 2028: 2003: 1952: 1932: 1905: 1849: 1801: 1758: 1720: 1650: 1607:arose, including the 1594: 1565: 1530: 1489:Santa Maria in Organo 1486: 1434: 1392: 1362:Veronese architects, 1349: 1320: 1271:church of San Giorgio 1253: 1205: 1176:Santa Maria in Organo 1172:San Giorgio in Braida 1150: 1106: 1058: 1006: 958: 943:or the facade of the 897: 885: 850: 784: 772: 714: 675:church of San Procolo 664: 607: 568: 528: 452: 414:church of San Lorenzo 398:church of San Lorenzo 395: 372: 334: 282: 208: 200:patriarch of Aquileia 128:The southern wall of 127: 104:church of St. Stephen 79: 22: 3707:San Zeno in Oratorio 3642:San Nicolò all'Arena 3637:Santi Nazaro e Celso 3577:San Giovanni in Foro 3499:Basilicas and abbeys 3306:, pp. 334–336). 3294:, pp. 434–436). 3258:, pp. 332–333). 3222:, pp. 329–330). 3198:, pp. 429–430). 3186:, pp. 328–329). 3159:, pp. 426–429). 3135:, pp. 420–423). 3060:, pp. 418–420). 2975:, pp. 408–412). 2922:, pp. 406–408). 2910:, pp. 405–406). 2886:, pp. 392–394). 2847:, pp. 390–392). 2793:, pp. 394–395). 2781:, pp. 388–390). 2733:, pp. 375–376). 2721:, pp. 378–380). 2685:, pp. 376–378). 2673:, pp. 374–375). 2649:, pp. 371–374). 2582:, pp. 364–367). 2570:, pp. 361–364). 2546:, pp. 356–360). 2534:, pp. 355–356). 2312:Church of the Scalzi 2276:Basilica of San Zeno 2168:Church of San Matteo 1916:church of San Matteo 1906:The interior of the 1864:San Nicolò all'Arena 1804:St. Stephen's Church 1761:church of the Scalzi 1583:several more years. 1456:columns in Veronese 1254:The cloister of the 1223:The interior of the 1206:The interior of the 1192:chapel of St. Blaise 1168:Santi Nazaro e Celso 1153:chapel of St. Blaise 1032:was assigned to the 773:The interior of the 724:The transition to a 667:basilica of San Zeno 658:and communal walls. 648:basilica of San Zeno 618:St. Stephen's Church 335:The interior of the 298:basilica of San Zeno 158:, a map that Bishop 156:Raterian Iconography 130:St. Stephen's Church 3667:Santi Siro e Libera 3597:Madonna di Campagna 3407:"Diocesi di Verona" 3304:Brugnoli e Sandrini 3280:Brugnoli e Sandrini 3268:Brugnoli e Sandrini 3256:Brugnoli e Sandrini 3232:Brugnoli e Sandrini 3220:Brugnoli e Sandrini 3184:Brugnoli e Sandrini 2405:Monuments of Verona 2380:Church of St. Rocco 2196:Church of San Tomio 2101:Cathedral of Verona 1629:Counter-Reformation 1513:semicircular arches 1511:, with three large 1332:Gian Matteo Giberti 985:Francesco Condulmer 906:, who replaced the 352:Gothic architecture 306:timber roof trusses 25:cathedral of Verona 3747:Destroyed churches 3738:San Pietro Martire 3702:Santissima Trinità 3602:Santa Maria Antica 3562:San Fermo Maggiore 3461:Churches in Verona 3365:Michele Sanmicheli 3048:, pp. 80–82). 2308:Church of St. Luke 2238:Church of St. Paul 2035: 2033:by Andrea Camerata 2010:Adriano Cristofali 2006: 1962: 1939:Ferdinando Bibiena 1935: 1912: 1897:Adriano Cristofali 1856: 1816:San Fermo Maggiore 1807: 1765: 1730: 1688:Ignatius of Loyola 1676:Republic of Venice 1660: 1601: 1580:victory at Lepanto 1568: 1536: 1497: 1493:Michele Sanmicheli 1445: 1406: 1364:Michele Sanmicheli 1359: 1356:Michele Sanmicheli 1323: 1259: 1241:Piazza dei Signori 1221: 1160: 1138:John of Capistrano 1113: 1065: 1013: 965: 900: 892: 856: 851:The facade of the 787: 779: 722: 671: 665:The façade of the 621: 614:Lombard Romanesque 574: 535: 529:The portal of the 514:, under which the 473: 402: 379: 340: 289: 283:The façade of the 221:heavenly Jerusalem 211: 196:St. Mary in Organo 134: 88: 86:of the 5th century 38:are the places of 36:churches of Verona 32: 3772: 3771: 3516:San Zeno Basilica 3468:Cathedral complex 2471:, pp. 8–11). 1959:Alessandro Pompei 1955:St. Paul's Church 1895:. The architects 1885:Alessandro Pompei 1869:Alessandro Pompei 1738:Pope Clement VIII 1702:that support the 1668:Pope Gregory XIII 1491:with the work of 1443:'s prominent dome 1399:Francesco Torbido 1372:Pellegrini chapel 1352:Pellegrini Chapel 1330:issued by Bishop 1245:red Verona marble 1125:Renaissance style 873:Giacomo Dal Verme 652:abbey of San Zeno 543:diocese of Verona 504:semicircular arch 373:The crypt of the 29:diocese of Verona 3848: 3813: 3812: 3811: 3801: 3800: 3789: 3788: 3780: 3754:San Fermo Minore 3454: 3447: 3440: 3431: 3430: 3426: 3418: 3410: 3395: 3392:Chiese di Verona 3386: 3383:Storia di Verona 3377: 3368: 3359: 3347: 3338: 3324: 3307: 3301: 3295: 3289: 3283: 3277: 3271: 3265: 3259: 3253: 3247: 3241: 3235: 3229: 3223: 3217: 3211: 3205: 3199: 3193: 3187: 3181: 3175: 3169: 3160: 3154: 3148: 3142: 3136: 3130: 3124: 3123: 3121: 3119: 3105: 3099: 3098: 3096: 3094: 3079: 3073: 3067: 3061: 3055: 3049: 3043: 3037: 3034:Davies e Hemsoll 3031: 3025: 3022:Davies e Hemsoll 3019: 3013: 3010:Davies e Hemsoll 3007: 3001: 3000: 2998: 2996: 2982: 2976: 2970: 2964: 2958: 2952: 2946: 2935: 2929: 2923: 2917: 2911: 2905: 2899: 2893: 2887: 2881: 2875: 2869: 2863: 2857: 2848: 2842: 2836: 2830: 2821: 2815: 2806: 2800: 2794: 2788: 2782: 2776: 2770: 2764: 2758: 2752: 2746: 2740: 2734: 2728: 2722: 2716: 2710: 2704: 2698: 2692: 2686: 2680: 2674: 2668: 2662: 2656: 2650: 2644: 2635: 2629: 2623: 2617: 2608: 2607: 2605: 2603: 2589: 2583: 2577: 2571: 2565: 2559: 2553: 2547: 2541: 2535: 2529: 2523: 2517: 2511: 2505: 2496: 2490: 2484: 2478: 2472: 2466: 2460: 2454: 2448: 2442: 2436: 2430: 1633:Council of Trent 1625:Charles Borromeo 1605:religious orders 1505:Malatesta temple 1464:with columns of 1395:Verona Cathedral 1336:Council of Trent 1291:mendicant orders 1285:'s renovations. 1069:Verona cathedral 1009:Verona Cathedral 993:Giovanni Michiel 961:Giovanni Michiel 730:Romanesque style 692:Wheel of Fortune 453:The back of the 354:, the so-called 317:Corinthian-order 237:minor Hierusalem 216:Versus de Verona 147:Versus de Verona 62:Verona cathedral 3856: 3855: 3851: 3850: 3849: 3847: 3846: 3845: 3821: 3820: 3819: 3809: 3807: 3803:Catholic Church 3795: 3783: 3775: 3773: 3768: 3742: 3711: 3520: 3494: 3463: 3458: 3421: 3413: 3405: 3402: 3315: 3310: 3302: 3298: 3290: 3286: 3282:, p. 331). 3278: 3274: 3270:, p. 332). 3266: 3262: 3254: 3250: 3246:, p. 434). 3242: 3238: 3234:, p. 333). 3230: 3226: 3218: 3214: 3210:, p. 430). 3206: 3202: 3194: 3190: 3182: 3178: 3174:, p. 429). 3170: 3163: 3155: 3151: 3147:, p. 426). 3143: 3139: 3131: 3127: 3117: 3115: 3107: 3106: 3102: 3092: 3090: 3081: 3080: 3076: 3072:, p. 420). 3068: 3064: 3056: 3052: 3044: 3040: 3036:, p. 130). 3032: 3028: 3024:, p. 141). 3020: 3016: 3012:, p. 132). 3008: 3004: 2994: 2992: 2984: 2983: 2979: 2971: 2967: 2963:, p. 213). 2959: 2955: 2951:, p. 412). 2947: 2938: 2934:, p. 408). 2930: 2926: 2918: 2914: 2906: 2902: 2898:, p. 405). 2894: 2890: 2882: 2878: 2874:, p. 400). 2870: 2866: 2862:, p. 392). 2858: 2851: 2843: 2839: 2835:, p. 398). 2831: 2824: 2820:, p. 395). 2816: 2809: 2805:, p. 390). 2801: 2797: 2789: 2785: 2777: 2773: 2769:, p. 388). 2765: 2761: 2757:, p. 387). 2753: 2749: 2745:, p. 381). 2741: 2737: 2729: 2725: 2717: 2713: 2709:, p. 378). 2705: 2701: 2697:, p. 380). 2693: 2689: 2681: 2677: 2669: 2665: 2661:, p. 374). 2657: 2653: 2645: 2638: 2634:, p. 371). 2630: 2626: 2622:, p. 369). 2618: 2611: 2601: 2599: 2591: 2590: 2586: 2578: 2574: 2566: 2562: 2558:, p. 360). 2554: 2550: 2542: 2538: 2530: 2526: 2522:, p. 355). 2518: 2514: 2510:, p. 353). 2506: 2499: 2495:, p. 100). 2491: 2487: 2483:, p. 244). 2479: 2475: 2467: 2463: 2455: 2451: 2447:, p. 350). 2443: 2439: 2435:, p. 347). 2431: 2422: 2418: 2396: 2391: 2328: 2321: 2298: 2293: 2271: 2266: 2204: 2199: 2158:, deconsecrated 2096: 2074: 2047:Andrea Palladio 1918:, located near 1880:Scipione Maffei 1852:Scipione Maffei 1844: 1771:, built by the 1746:Guarino Guarini 1727:Guarino Guarini 1698:columns of the 1644:as his friend. 1642:Agostino Valier 1638:Nicolò Ormaneto 1589: 1549:Temple of Vesta 1315: 1267:Biagio Rossetti 1142:Domenico Morone 1082:Milan cathedral 989:Ermolao Barbaro 953: 838:Lords of Verona 709: 694:, that is, the 277: 57: 52: 17: 12: 11: 5: 3854: 3844: 3843: 3838: 3833: 3818: 3817: 3805: 3793: 3770: 3769: 3767: 3766: 3764:San Sebastiano 3761: 3756: 3750: 3748: 3744: 3743: 3741: 3740: 3735: 3730: 3725: 3719: 3717: 3713: 3712: 3710: 3709: 3704: 3699: 3694: 3689: 3684: 3679: 3674: 3669: 3664: 3659: 3654: 3649: 3644: 3639: 3634: 3629: 3624: 3619: 3614: 3609: 3604: 3599: 3594: 3589: 3584: 3579: 3574: 3569: 3564: 3559: 3554: 3549: 3544: 3539: 3537:San Bernardino 3534: 3532:Santi Apostoli 3528: 3526: 3522: 3521: 3519: 3518: 3513: 3511:San Zeno Abbey 3508: 3502: 3500: 3496: 3495: 3493: 3492: 3487: 3482: 3477: 3471: 3469: 3465: 3464: 3457: 3456: 3449: 3442: 3434: 3428: 3427: 3419: 3411: 3401: 3400:External links 3398: 3397: 3396: 3387: 3378: 3369: 3360: 3348: 3339: 3325: 3314: 3311: 3309: 3308: 3296: 3284: 3272: 3260: 3248: 3236: 3224: 3212: 3200: 3188: 3176: 3161: 3149: 3137: 3125: 3100: 3074: 3062: 3050: 3038: 3026: 3014: 3002: 2977: 2965: 2953: 2936: 2924: 2912: 2900: 2888: 2876: 2864: 2849: 2837: 2822: 2807: 2795: 2783: 2771: 2759: 2747: 2735: 2723: 2711: 2699: 2687: 2675: 2663: 2651: 2636: 2624: 2609: 2584: 2572: 2560: 2548: 2536: 2524: 2512: 2497: 2485: 2473: 2461: 2449: 2437: 2419: 2417: 2414: 2413: 2412: 2407: 2402: 2395: 2392: 2390: 2389: 2386: 2381: 2378: 2375: 2372: 2369: 2366: 2363: 2360: 2357: 2354: 2351: 2348: 2345: 2342: 2339: 2336: 2333: 2329: 2327: 2322: 2320: 2319: 2314: 2309: 2306: 2303: 2299: 2297: 2294: 2292: 2291: 2288: 2283: 2278: 2272: 2270: 2267: 2265: 2264: 2259: 2254: 2249: 2246: 2243: 2240: 2235: 2230: 2225: 2222: 2219: 2214: 2209: 2205: 2203: 2200: 2198: 2197: 2194: 2191: 2185: 2182: 2179: 2176: 2171: 2165: 2162: 2159: 2153: 2148: 2143: 2138: 2133: 2130: 2125: 2120: 2117: 2112: 2109: 2104: 2097: 2095: 2092: 2073: 2070: 1972:ending in the 1957:, the work of 1843: 1840: 1820:Riva del Garda 1588: 1585: 1487:The facade of 1314: 1311: 1279:Pope Eugene IV 1188:pointed arches 1067:As far as the 1042:Antonio Correr 1026:Santa Giustina 952: 949: 933:Scaliger tombs 708: 705: 701:pointed arches 556:baptismal font 356:Scaliger tombs 276: 273: 115:quadriporticus 56: 53: 51: 48: 15: 9: 6: 4: 3: 2: 3853: 3842: 3839: 3837: 3834: 3832: 3829: 3828: 3826: 3816: 3806: 3804: 3799: 3794: 3792: 3787: 3782: 3781: 3778: 3765: 3762: 3760: 3757: 3755: 3752: 3751: 3749: 3745: 3739: 3736: 3734: 3731: 3729: 3726: 3724: 3721: 3720: 3718: 3714: 3708: 3705: 3703: 3700: 3698: 3697:Santa Toscana 3695: 3693: 3690: 3688: 3685: 3683: 3680: 3678: 3675: 3673: 3672:Santo Stefano 3670: 3668: 3665: 3663: 3662:San Rocchetto 3660: 3658: 3655: 3653: 3650: 3648: 3645: 3643: 3640: 3638: 3635: 3633: 3630: 3628: 3625: 3623: 3620: 3618: 3615: 3613: 3610: 3608: 3605: 3603: 3600: 3598: 3595: 3593: 3590: 3588: 3585: 3583: 3580: 3578: 3575: 3573: 3570: 3568: 3565: 3563: 3560: 3558: 3555: 3553: 3550: 3548: 3545: 3543: 3540: 3538: 3535: 3533: 3530: 3529: 3527: 3523: 3517: 3514: 3512: 3509: 3507: 3504: 3503: 3501: 3497: 3491: 3488: 3486: 3483: 3481: 3478: 3476: 3473: 3472: 3470: 3466: 3462: 3455: 3450: 3448: 3443: 3441: 3436: 3435: 3432: 3424: 3420: 3416: 3412: 3408: 3404: 3403: 3393: 3388: 3384: 3379: 3375: 3370: 3366: 3361: 3357: 3353: 3352:Carlo Cipolla 3349: 3345: 3340: 3336: 3332: 3326: 3322: 3317: 3316: 3305: 3300: 3293: 3288: 3281: 3276: 3269: 3264: 3257: 3252: 3245: 3240: 3233: 3228: 3221: 3216: 3209: 3204: 3197: 3192: 3185: 3180: 3173: 3168: 3166: 3158: 3153: 3146: 3141: 3134: 3129: 3114: 3110: 3104: 3088: 3084: 3078: 3071: 3066: 3059: 3054: 3047: 3042: 3035: 3030: 3023: 3018: 3011: 3006: 2991: 2987: 2981: 2974: 2969: 2962: 2957: 2950: 2945: 2943: 2941: 2933: 2928: 2921: 2916: 2909: 2904: 2897: 2892: 2885: 2880: 2873: 2868: 2861: 2856: 2854: 2846: 2841: 2834: 2829: 2827: 2819: 2814: 2812: 2804: 2799: 2792: 2787: 2780: 2775: 2768: 2763: 2756: 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2099: 2098: 2091: 2089: 2088: 2083: 2079: 2069: 2067: 2062: 2060: 2056: 2052: 2048: 2044: 2040: 2032: 2027: 2023: 2019: 2016: 2011: 2002: 1998: 1996: 1992: 1987: 1984:on which the 1983: 1979: 1975: 1971: 1967: 1960: 1956: 1951: 1947: 1945: 1940: 1931: 1927: 1925: 1921: 1920:Porta Borsari 1917: 1909: 1904: 1900: 1898: 1894: 1890: 1886: 1881: 1877: 1876:Enlightenment 1872: 1870: 1865: 1861: 1853: 1848: 1839: 1835: 1833: 1829: 1825: 1821: 1817: 1813: 1805: 1800: 1796: 1794: 1789: 1784: 1782: 1778: 1774: 1770: 1762: 1757: 1753: 1751: 1747: 1743: 1739: 1735: 1728: 1724: 1719: 1715: 1713: 1709: 1705: 1701: 1697: 1693: 1689: 1685: 1681: 1680:Baroque style 1677: 1673: 1669: 1665: 1658: 1654: 1649: 1645: 1643: 1639: 1634: 1630: 1626: 1622: 1618: 1614: 1610: 1606: 1598: 1593: 1584: 1581: 1577: 1573: 1564: 1560: 1558: 1554: 1550: 1546: 1542: 1534: 1529: 1525: 1523: 1519: 1514: 1510: 1506: 1502: 1494: 1490: 1485: 1481: 1479: 1475: 1471: 1467: 1463: 1459: 1455: 1450: 1442: 1438: 1433: 1429: 1427: 1423: 1419: 1415: 1411: 1404: 1403:Giulio Romano 1400: 1396: 1391: 1387: 1385: 1381: 1377: 1373: 1369: 1365: 1357: 1353: 1348: 1344: 1342: 1337: 1333: 1329: 1328:Costitutiones 1319: 1310: 1308: 1304: 1300: 1296: 1295:St. Anastasia 1292: 1286: 1284: 1280: 1276: 1272: 1268: 1264: 1257: 1252: 1248: 1246: 1242: 1238: 1237:Doge's Palace 1234: 1230: 1229:Antonio Rizzo 1226: 1219: 1218: 1213: 1209: 1204: 1200: 1198: 1193: 1189: 1185: 1181: 1177: 1173: 1169: 1165: 1158: 1154: 1149: 1145: 1143: 1139: 1135: 1130: 1126: 1122: 1118: 1110: 1105: 1101: 1099: 1095: 1091: 1087: 1083: 1079: 1075: 1070: 1062: 1057: 1053: 1051: 1047: 1043: 1039: 1035: 1031: 1027: 1023: 1019: 1010: 1005: 1001: 999: 994: 990: 986: 982: 978: 974: 970: 962: 957: 948: 946: 942: 936: 934: 930: 926: 922: 917: 913: 909: 905: 896: 889: 884: 880: 878: 874: 871: 870: 865: 861: 854: 849: 845: 843: 839: 835: 830: 828: 824: 820: 819:Lombard bands 815: 813: 808: 804: 800: 795: 792: 783: 776: 771: 767: 765: 761: 757: 753: 749: 743: 741: 736: 731: 727: 718: 713: 704: 702: 697: 693: 688: 684: 680: 676: 668: 663: 659: 657: 653: 649: 644: 642: 638: 634: 630: 626: 619: 615: 611: 606: 602: 600: 596: 592: 591:Lombard bands 587: 583: 582:Vallombrosian 579: 572: 567: 563: 561: 557: 551: 548: 544: 540: 532: 527: 523: 521: 517: 513: 509: 505: 501: 498: 494: 490: 486: 482: 478: 471: 468: 464: 460: 456: 451: 447: 444: 439: 437: 432: 428: 423: 419: 415: 411: 410:Porta Borsari 407: 399: 394: 390: 388: 384: 376: 371: 367: 365: 361: 357: 353: 349: 345: 338: 333: 329: 326: 323: 318: 314: 309: 307: 303: 299: 295: 286: 281: 272: 270: 265: 261: 256: 254: 250: 246: 242: 238: 234: 230: 226: 222: 218: 217: 207: 203: 201: 197: 193: 189: 185: 181: 177: 173: 169: 165: 161: 157: 153: 149: 148: 143: 139: 131: 126: 122: 120: 116: 111: 110: 105: 100: 97: 93: 85: 84: 78: 74: 72: 68: 63: 47: 45: 41: 37: 30: 26: 21: 3791:Architecture 3723:Santa Chiara 3557:Sant'Eufemia 3552:San Domenico 3460: 3391: 3382: 3373: 3364: 3355: 3343: 3334: 3330: 3320: 3313:Bibliography 3299: 3287: 3275: 3263: 3251: 3239: 3227: 3215: 3203: 3191: 3179: 3152: 3140: 3128: 3116:. Retrieved 3112: 3103: 3091:. Retrieved 3077: 3065: 3053: 3041: 3029: 3017: 3005: 2993:. Retrieved 2989: 2980: 2968: 2956: 2927: 2915: 2903: 2891: 2879: 2867: 2840: 2798: 2786: 2774: 2762: 2750: 2738: 2726: 2714: 2702: 2690: 2678: 2666: 2654: 2627: 2600:. Retrieved 2596: 2587: 2575: 2563: 2551: 2539: 2527: 2515: 2488: 2476: 2464: 2452: 2440: 2325:Extra moenia 2324: 2087:extra moenia 2085: 2082:intra moenia 2081: 2075: 2066:intra moenia 2065: 2063: 2036: 2020: 2015:barrel vault 2007: 1963: 1936: 1913: 1888: 1873: 1857: 1850:Portrait of 1836: 1808: 1785: 1766: 1731: 1684:World War II 1661: 1620: 1602: 1569: 1537: 1498: 1447:Also in the 1446: 1407: 1360: 1327: 1324: 1303:St. Euphemia 1287: 1260: 1222: 1215: 1161: 1114: 1066: 1014: 966: 937: 908:Benedictines 901: 867: 860:Augustinians 857: 842:World War II 831: 816: 788: 744: 726:Gothic style 723: 691: 687:Holy Trinity 672: 645: 628: 622: 575: 552: 536: 508:Ponte Pietra 474: 440: 426: 406:Via Postumia 403: 380: 341: 310: 290: 257: 245:Mount Olivet 236: 224: 214: 212: 155: 145: 135: 109:extra moenia 107: 101: 89: 81: 58: 35: 33: 3657:San Procolo 3627:San Massimo 3587:San Lorenzo 1986:entablature 1982:Ionic order 1871:, in 1956. 1700:giant order 1533:Paolo Monti 1522:Renaissance 1466:Doric order 1418:Eucharistic 1414:iconostasis 1164:Renaissance 1098:Latin cross 1086:entablature 1018:Serenissima 904:Franciscans 869:condottiero 801:; the wide 740:Della Scala 696:rose window 477:Adige River 348:Della Scala 176:Adige River 174:across the 96:Greek-cross 3825:Categories 3480:Sant'Elena 2416:References 2296:Cittadella 1970:presbytery 1773:Carmelites 1742:Corinthian 1478:rib vaults 1441:Sanmicheli 1233:Procuratie 1129:Franciscan 1074:rib vaults 1036:; and the 981:Guido Memo 916:quadrifora 799:rib vaults 679:bell tower 616:style, of 497:Corinthian 467:Corinthian 436:rib vaults 364:rib vaults 264:Romanesque 154:, and the 3475:Cathedral 2202:Veronetta 1944:tympanums 1708:pediments 1617:Capuchins 1613:Theatines 1470:stylobate 1458:limestone 1410:Cathedral 1307:monoforas 1299:St. Fermo 1283:cathedral 1275:Olivetans 1134:cloisters 1061:cathedral 1052:in 1451. 1046:Olivetans 998:Cathedral 973:Scaligeri 925:pinnacles 807:monoforas 791:Dominican 760:pinnacles 752:monoforas 599:archivolt 560:monoforas 547:prothyrum 539:Cathedral 531:cathedral 520:monoforas 431:matroneum 233:Pacificus 160:Ratherius 83:martyrium 3592:San Luca 3525:Churches 3118:April 5, 3087:Archived 2995:June 11, 2602:June 11, 2394:See also 2269:San Zeno 2094:Old Town 2057:and the 1991:pediment 1822:and the 1793:tympanum 1712:festoons 1704:tympanum 1615:and the 1235:and the 1212:Veronese 1195:painter 1094:transept 977:commenda 921:cornices 834:Servites 812:cornices 803:transept 735:Scaliger 720:elements 683:triforas 637:transept 633:tiburium 610:tiburium 601:arches. 595:triforas 500:capitals 470:capitals 387:transept 360:capitals 325:cornices 269:communes 186:and the 178:and the 142:Frankish 92:sacellum 40:Catholic 3777:Portals 3292:Borelli 3244:Borelli 3208:Borelli 3196:Borelli 3172:Borelli 3157:Borelli 3145:Borelli 3133:Borelli 3070:Borelli 3058:Borelli 3046:Cipolla 2973:Borelli 2961:Viviani 2949:Borelli 2932:Borelli 2920:Borelli 2908:Borelli 2896:Borelli 2884:Borelli 2872:Borelli 2860:Borelli 2845:Borelli 2833:Borelli 2818:Borelli 2803:Borelli 2791:Borelli 2779:Borelli 2767:Borelli 2755:Borelli 2743:Borelli 2731:Borelli 2719:Borelli 2707:Borelli 2695:Borelli 2683:Borelli 2671:Borelli 2659:Borelli 2647:Borelli 2632:Borelli 2620:Borelli 2580:Borelli 2568:Borelli 2556:Borelli 2544:Borelli 2532:Borelli 2520:Borelli 2508:Borelli 2481:Solinas 2445:Borelli 2433:Borelli 1980:of the 1978:lesenes 1828:Brescia 1664:Jesuits 1609:Jesuits 1545:portico 1474:corbels 1422:chancel 1155:in the 1090:chancel 748:biforas 641:biforas 512:chancel 493:lesenes 463:lesenes 459:friezes 313:lesenes 241:Calvary 213:In the 138:Lombard 50:History 3836:Verona 2400:Verona 2078:Verona 1966:Pompei 1777:Andrea 1611:, the 1557:Tivoli 1541:Vasari 1509:Rimini 1462:loggia 1426:loggia 1376:Vasari 1174:, and 929:spires 927:, and 877:ogives 823:spires 766:line. 756:spires 629:unicum 586:atrium 485:frieze 427:unicum 302:vaults 44:Verona 3815:Italy 3093:3 May 2469:Puppi 2457:Puppi 1974:choir 1696:Ionic 1454:Ionic 1439:with 1184:Ionic 1180:Doric 656:Roman 516:crypt 489:apses 465:with 249:Adige 243:from 152:Pepin 119:naves 3120:2020 3095:2020 2997:2020 2604:2020 2084:and 2029:The 1862:and 1759:The 1553:Rome 1435:The 1380:drum 1301:and 1162:The 1151:The 1107:The 991:and 902:The 858:The 827:bays 821:and 789:The 764:eave 758:and 750:and 608:The 441:The 422:bays 396:The 322:tuff 194:and 140:and 67:apse 34:The 23:The 3335:110 1826:in 1551:in 1507:in 1214:'s 3827:: 3354:. 3333:. 3164:^ 3111:. 3085:. 2988:. 2939:^ 2852:^ 2825:^ 2810:^ 2639:^ 2612:^ 2595:. 2500:^ 2423:^ 1783:. 1714:. 1297:, 1293:, 1170:, 987:, 983:, 947:. 935:. 829:. 271:. 73:. 3779:: 3453:e 3446:t 3439:v 3425:. 3417:. 3409:. 3358:. 3122:. 3097:. 2999:. 2606:.

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Knowledge

Churches of Verona

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