1616:. Of the early series of frescoes, now partially damaged by time, a few can be seen on the lower right wall; among them a St. Dionysius, interpreted in his traditional iconography while supporting his own head with his hand, and an Archangel Raphael are recognizable. Until about the middle of the 20th century, a depiction of Tobias next to the Archangel was also still visible. Still of the oldest frescoes, on the left wall, a valuable Madonna and Child between two Saints and a devotee can be seen (she is in an unusual position for Veronese culture, that is, standing and surrounded by two saints or knights, perhaps Pietro and Lucchino Dal Verme) placed next to the entrance of the chapel, which is followed by some commemorative fragments of three saints: a St. Roch, a St. Sebastian, and probably a St. Lawrence, of a much lower quality than the Madonna.
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350:'s seizure of power in Verona, which promoted a policy favorable to the church, encouraging the entry of various religious orders into the city. Thus, on September 16, 1262, it was possible, after a complex ceremony attended by clerics, the people and notaries, to formalize the full takeover of the monks, led by prior Friar Norandino, in place of the cleric Zeno. The first community that settled there, consisting of sixteen friars, found a complex situation: the church was in a poor state and the convent building was unsuitable for their living and office needs. However, from early on the Augustinians were able to benefit from aid from the ecclesiastical authorities, which resulted in donations, privileges and the power to confer indulgences. In addition, the church became a stationary church for
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next, he eviscerates a fish (heart, brain and gall) at the
Archangel's suggestion with the purpose of obtaining medicines from it; in the last, he returns to his father with his young wife and cures his adored parent from blindness with medicines obtained from the fish. Caroto's intervention extends into the vault of the chapel where sumptuous ornamentation remains, and in the center of the four segments are placed four roundels with busts of the evangelists. Giovan Francesco was also the author of the chapel's
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and freshness of the colors” with which it was painted. Below it are two polychrome relief coats of arms belonging to the noble
Veronese Dal Verme family dating back to the 14th century. On the opposite wall, the left, are two tomb monuments, of which that of the Guarienti family stands out for its decorative richness. Above them is a canvas by painter Dionisio Battaglia, who signed “DIONISIUS BATTALEA FECIT 1574,” in which he depicted a Madonna and Saints Julian and Juliana.
1740:, which is followed by a Virgin and Child with Saints Catherine and Lucy by an unknown author, who was active between the 16th and 17th centuries. On the left wall is a canvas, also by Domenico Brusasorzi, who painted a St. Augustine and an 18th-century Our Lady of Good Counsel whose author is unknown. Until the end of the 19th century, four canvases by the painter Dionisio Guerri also hung on the walls, whose fate, except for the Baptism of St. Augustine now in the
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242:'s troops who turned it into a military hospital. Reopened for worship under Austrian rule, it returned to serve as a garrison shelter during the Italian wars of independence. Restoration and consolidation of the building's masonry was put in place during the early 20th century; however, on April 25, 1945, the explosion of the nearby Victory Bridge, blown up by retreating German soldiers, severely damaged the facade; a large
883:, adjacent to the church, to 1617, due to the discovery of a coeval document that records that the monks “... are building a cloister of such size and beautiful architecture that will have few equals in Italy.” Its design is the work of the architect Domenico Curtoni, already the author of very important works in the city, who chose to move towards a purely classical layout construction, inspired by the works of the famous
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1780 there were only 22 until, fifteen years later, there were only 12. The arrival of
Napoleon's troops was the final blow that disgraced the convent: in fact, the French imposed the closure of religious activities in order to turn the church into a military hospital, but not before emptying it of all its furnishings. Shortly afterwards a fire destroyed many of the artworks kept there, including canvases by
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the various uses were made: the use as infantry barracks and as a warehouse for hospital supplies are documented; after 1849 the establishment of the offices of the I.R. Civil and
Military Government; and finally the use as a cookie warehouse for the army. From 1878, with the city's transition to Italian administration, the convent buildings were used instead as an educational institution.
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lance and holding a shield adorned with the three stars of the
Lanfranchini army. On the top of the portal is drawn an inflected cornice on which, at the upper end, is placed a statue of the titular saint of the church, depicted with a book in her hand and lions at her feet, as per traditional iconography. On either side of the portal are two blind mullioned windows with a
319:, not sparing St. Euphemia. The feverish reconstructive activity following the earthquake also affected this church, which was so promptly rebuilt that as early as 1140 it was reconsecrated as a parish. Sources or analyses do not reveal anything about this second building either, but it can be imagined to have been also modest in size and built in the Veronese
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venerated in St. Euphemia; since no cases occurred in the parish, the faithful decided to thank the Virgin by donating the renewal of the bell concert to the church. The work was commissioned to the Verona firm of the
Cavadini family, which cast a set of five bells in the major scale of F3, consecrated on November 12, 1886, by Cardinal and Bishop of Verona
418:, a number of Veronese citizens were excommunicated who were found guilty of offending the Augustinians, further proof of the prestige of the convent and the protection it was afforded by the ecclesiastical authority. Work proceeded for a few more years, and the church was finally consecrated in 1331 by Bishop Nicolò, abbot of the Villanova abbey.
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until the middle of the 14th century the church was further enlarged and elevated to make one large hall, and at the same time as this work the first cloister was modified. In 1617, the square major cloister was finally built to a design by
Domenico Curtoni, while the minor cloister was renovated in 1636 to a design attributed to Lelio Pellesina.
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barrel-vaulted ceiling of the chancel. The pictorial decorations of the vaults were made in the 1930s by
Gaetano Miolato, and consist of: polychrome frames, liturgical symbols and three paintings depicting the Nativity, the Annunciation and the Presentation of Mary in the Temple on the vault covering of the nave; a
1539:. Of this painting, the best-preserved part, thanks in part to a restoration carried out in 1958, is a left vertical band in which angels, blessed and resurrected are depicted. The 18th-century canvas, on the other hand, is by Paolo Pannelli in which he intended to depict the Martyrdom of seven Augustinian saints.
354:. On November 8, 1265, Bishop Manfredo of Verona gave permission to lay the foundation stone of the new building, which later, albeit with later modifications, would be the one that still exists today; at the same time, the bishop granted indulgences to anyone who contributed financially to the building.
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Most of the left wall of the chapel is, however, decorated by the later fresco cycles painted by Giovan
Francesco Caroto around 1508 in which he depicted on two overlapping sections Stories of Tobias and Stories of the Archangel Raphael. In the top register, Tobias bids farewell to his father; in the
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The next altar, the fourth, belonged to the
Campagna family as recalled by their coats of arms engraved next to the mensa; it was made in the 18th century. Diomiro Cignaroli is the author of the two statues representing St. John the Baptist and St. Jerome, while in the center in a niche is placed the
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The second altar was built by Gian Giacomo Lonardi between 1695 and 1696, also replacing an earlier one that was deemed too modest for the church. The patron's family is remembered through two noble coats of arms placed at the foot of the columns of the altar itself. It features alternating black and
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depicting the Crucifix with the Madonna, St. Mary Magdalene and St. John, present in St. Euphemia since at least 1854, the date of its first mention. Immediately afterwards there is the first side altar on the left, made in 1740 on commission by Alessandro da Sacco, tampering with an earlier one made
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Continuing on, one encounters the altar dedicated to Our Lady of Health, made in 1596 on a commission from the Trevisoli family as attested by the engravings on the sides of the mensa. The statue was one of the most venerated in the city and was moved to St. Euphemia only on February 20, 1807, coming
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There are also two funerary monuments on the facade: the first placed under the left mullioned window was made in 1550 for the Lavagnoli family, and initially placed inside, it was moved outside in the eighteenth century. The second, on the other hand, dates back to 1279 and is placed under the right
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The first Christian church was built on this site before the mid-10th century, as it appears in the so-called “Raterian iconography,” the oldest depiction of Verona and dating from that period. Although no archaeological excavations have been conducted, it is believed that the church may date back to
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On the right wall is an additional fresco, also detached, depicting the archangel St. Michael chronologically datable between the end of the 14th century and the beginning of the following century. Discovered in 1958, it, too, is in a precarious state of preservation but still reveals the “vividness
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As on the facade, there are also two valuable funerary monuments on the right side, originally placed inside and placed here in the 18th century. The one closest to the facade is also the smallest and consists of a marble sarcophagus on which is placed a statue of fine workmanship, albeit mutilated.
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was created so large that it covered the entire nave, and hid the ancient wooden trusses. On the right side the fourteenth-century windows were bricked in and replaced with simple rectangular openings. A large central single-lancet window was opened on the facade to allow greater illumination of the
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also struck Verona, killing three-fifths of the population, and in the district of Santa Eufemia alone 438 people died out of the 656 who lived there before the outbreak of the epidemic. Having overcome the scourge of the plague, at the end of the 18th century the church was provided with a new high
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The monastery enjoyed great fame among the people of Verona, and illustrious figures from both the religious and scientific worlds were hosted within its walls. In 807 the hermit saints Benignus and Carus stayed there, while in the 13th century its monks included Blessed Evangelista, Pellegrino and
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On the left wall of the cross vault opens a door through which one enters, after walking down a short corridor, the church sacristy. This is housed in a room whose construction dates back to the first decades of the 16th century; part of the flooring, the one in the center of the room, is still the
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must have been almost entirely covered with frescoes from the late 14th and early 15th centuries; only fragments of these paintings survive today, rediscovered since the second half of the 19th century. For example, on the right wall can be seen some remnants, largely hidden by a large 18th-century
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is in the Spolverini Dal Verme chapel. Although critics do not agree precisely on its dating, most date it to the first half of the 15th century, recognizing in it an important example of late Gothic. The painting has been described as clear evidence of the arrival in Verona of a “new current, with
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The first half of the eighteenth century is not only remembered in the history of the church for these transformations but also for being the period of the beginning of the decline of the monastery. The number of resident friars declined steadily, so that while in 1756 there could be counted 34, in
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The 18th century was also marked by intense works that changed the physiognomy of the church. The professed layman Friar Pellegrino Mosconi was commissioned in 1739 to take charge of these renovations, which involved the interior and exterior of the building. The most important intervention carried
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was also built, replacing the one built in the 14th century. In 1617 it was already under construction according to a plan that intended it to be of imposing dimensions, so much so that the friars wrote that “a cloister of such size and beautiful architecture that will have few equals in Italy” was
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used the church and monastery as a military hospital, and ten years later the convent was finally suppressed and became state property. Between 1814 and 1866, during Austrian rule, the military use of the monastery was thus maintained, for which various accommodations and adaptations necessary for
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the painter intended to depict the Three Archangels (Michael, Raphael, Gabriel). The attribution of this work is certain and the author signed it with “F. CAROTUS P.,” whereas the attribution of two doors of the triptych, still preserved in the chapel, is more uncertain, which some critics instead
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opens on the outer wall, allowing access to a short corridor leading to the sacristy. Embedded on the walls of the corridor are fragments of sepulchral seals and a marble plaque attesting to the bequest in favor of girls for marriage offered by parish priest Massimiliano Lanceni in 1782. Above the
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is the author of the altarpiece in which he depicted, between 1540 and 1550, Our Lady and Saints Sebastian, Monica, Augustine and Roch. As was the custom at the time, Brusasorzi inserted the portrait of the patrons in the center of the lower part of the canvas. The altar was commissioned by the Da
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During that period there were few changes to the structure of the church except for the construction of a large arch between the chancel and the nave, with the function of mitigating the perception of excessive length. Restoration and consolidation of the building's masonry was put in place in the
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In the following years, while Verona was under Austrian domination, some changes were made to the interior of the church, such as the removal of two small altars that were on either side of the main entrance, the displacement of the altars of St. Augustine and the Pieta, and the replacement of the
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The convent complex was severely damaged by aerial bombardment during World War II and by the destruction of the nearby Victory Bridge, which was mined in 1945. Of the older (rectangular) cloister, perhaps only the wing adjacent to the church remains, while the rest was rebuilt as the site of the
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led Santa Eufemia, in 1806, to be elevated to a matrix church absorbing, as a result, other neighboring parishes; this increased the number of faithful from 570 to nearly 2,500. A subsequent decree imposed the suppression of all religious orders, and even the Augustinians had to leave the already
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overlooked by the monks' dwellings. Its construction was begun in 1267: the first, rectangular cloister was completed in 1268, while other work continued until 1289. In the meantime the church was rebuilt: work started in 1275 and continued at least until 1331, when it was consecrated; from 1315
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with a terracotta ferrule and protected by a double sloping white stone, and above this is a second, smaller oculus. On either side of the portal, above corbels decorated with carved foliage, are two statues probably depicting warrior saints who originally must have been equipped with a sword or
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The chapel contains pictorial works dating from two distinct periods, 14th and 16th centuries. They are divided into several levels: in the first at the bottom one can recognize the phases of the late 14th-century period, by unknown authors who worked at the same time as the construction of the
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As for the original bronze ensemble, there is no documentation, and all that is known is that it consisted of four bells. These were replaced in 1886: in that year, in fact, the city of Verona was struck by a cholera epidemic, so the parishioners made a vow to the Blessed Virgin Mary of Health,
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Towards the end of the 14th century, the construction of the various minor chapels continued. On September 24, 1390, a contract between Taddeo Spolverini Dal Verme and the monastery allowed the former to build the family chapel, later consecrated in 1396; Nicolò da Ferrara, who was later the
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The chapel of St. Rita, whose construction began in 1379, is located at the end of the left aisle and next to the presbytery occupying the minor west apse of the church. It is also known as the Chapel of St. Augustine because its interior contains the famous fresco Glory of St. Augustine by
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with a semi-elliptical cross-section, made of wattle anchored to the trusses above by means of wooden ribs, punctuated by transverse ribs and lateral webs at the windows, just as the lowered hemispherical canopy covering the transept cross is in wattle. In masonry, on the other hand, is the
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in which he had depicted a Nativity, a Deposition and a Resurrection, now replaced by wooden copies since the originals were looted at the end of the 18th century by the French army during the Napoleonic occupation, when the abbey was turned into a military hospital. There is also a wooden
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Nicolò. The building activity, however, did not end, and in the following years the monastery's rooms continued to be expanded in order to accommodate the increasing number of monks who arrived there attracted by the great prestige the community boasted. A permit granted by
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of 1797 the church was attacked by a group of rioters who looted and plundered it, despite attempts by the prior of the convent to dissuade them; the action ended in bloodshed with deaths and injuries. In 1798, following some renovations, it could be reopened for worship.
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between the 18th and 19th centuries with scenes from the life of the titular saint. Commissioners of the altar were members of the Lanfranchini family as evidenced by an inscription engraved at the foot of the right column and the presence of their coat of arms on the
1024:, of which there are records in the church only from the beginning of the nineteenth century. Next one encounters seven altars made in various periods and at their end the side entranceway, above which is another painting by Carpioni depicting a penitent Saint Jerome.
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adorned with three statuettes, the work of Diomirio Cignaroli, depicting St. Joseph and two cherubs; originally there was also a small door painted by Felice Cignaroli that was stolen in August 1991. The altar canvas, Virgin and St. Thomas of Villanova was painted by
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The fifth altar was made in 1736 on a commission from the Pistori guild. It is characterized by the use of a multiplicity of marbles. In the center is an eighteenth-century style canvas depicting St. Paul between Saints Anthony Abbot and Ursula, whose author,
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that almost completely covers the remains of what must have been a vast fresco, either coeval with the construction of the church or slightly later, in which was depicted a Madonna Enthroned among Saints and of which only parts of Augustinian saints remain.
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high altar (brought, as already mentioned, to Pinzolo). In 1845 the interior lighting was renewed with new lamps and candelabra. During the three Italian wars of independence (1848, 1859, 1866) it was closed to worship and used again as a military hospital.
1134:, on the other hand, is the author of the painting to the right of the altar with Madonna, St. Andrew, St. Lawrence and the Souls in Purgatory, while Fabrizio Cartolari painted the one on the left with St. Thomas of Villanova distributing alms to the poor.
1592:, the chapel features interesting pictorial and architectural elements. Its design is due to the architect Giovanni da Ferrara, who began it around the end of 1390 and who designed a decidedly slender ogival vault for it through the use of thin ribs.
394:” that his mortal remains were to be kept in the ark placed on the facade itself. On March 3, 1284, the bishop of Verona Bartolomeo I della Scala blessed the cemetery that arose in front of the church, while on January 9, 1279, the altar dedicated to
1550:, who had made it around 1573 on commission from the VeritĂ family, who intended to use it for their altar. The subject chosen by Brusasorzi is a Trinity with the interceding Virgin, saints and patriarchs, and for it he was certainly inspired by
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hermit monks to Verona in 1262 so that they could be closer to the community and granted them permission to build a monastery, located at the time in the Capitani quarter of the Scaliger city. Through bequests and donations, particularly that of
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on the altar, a 17th-century work, on which figures of cherubs supporting festoons of fruit and leaves are carved, while in the center is a long inscription recalling the work of the priors who were responsible for furnishing the sacristy.
1338:. It was commissioned in 1618 by Antonio Visconi as recalled by the family coats of arms engraved on the bases of the two columns. The canvas, Madonna and St. Charles Borromeo placed between St. Paul and St. Anthony Abbot, is the work of
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inside the church, an uncommon privilege made possible thanks to the donation of Count Galeazzo Banda. In addition, it was arranged that not only residents of the old parish jurisdiction would be baptized but anyone who requested it.
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dating from the 15th century, decorated with a beautifully crafted relief. Above the door that connects the sacristy to the church is a plaque on which, inside an oval, the face of the man of letters Luigi Gaiter is depicted.
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and Cia degli Ubaldini are from the early 15th century. The flooring of the chapel is composed of tombstones of local noble families, placed in this historic corner following a modernization in the 20th century of the church.
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At that time the Augustinians had to boast a high regard among the inhabitants of the city, from whom they received donations, privileges and aid, but it was the Della Scala family who were their greatest benefactors with
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period (late 10th century) and were offered to move to Sant'Eufemia (which had meanwhile fallen into such crisis that it was ruled by a single cleric named Zeno) in order to carry out their work of evangelization.
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on which simple moldings are carved. In the center is the Banda coat of arms and the inscription “GALEATIUS DE/ BANDIS COMES / 16/01.” In 1953 it was fitted with a bronze lid that covers the bowl. Above it is the
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The side elevations are still in brick but marked by pilasters set on a high plinth, finally crowned by hanging arches; between the pilasters, moreover, there is a theory of wide, low arched windows with splayed
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original one as is the altar. The latter consists of a complex of marbles of different shades of gray and red alternating with some white ones. Initially it was also decorated with three bronze panels carved by
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on July 19, 1340, allowed the Augustinian monks to close off a street that cut their property in two, so that they could unite it and thus complete the construction of the building that still lacked an
390:. The work had to proceed expeditiously and already in 1279 the facade must have been well underway since in the same year in his will the nobleman Cavalcano de' Cavalcani indicated with the words “
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At the end of the right aisle is a door through which one enters the Spolverini-Dal Verme chapel, which occupies the space of the right apse. Now dedicated to the angels, originally consecrated to
386:, Guglielmo, to give, on July 11, 1275, the second permit to begin construction. The foundation stone was laid the following August 7 in the presence of several witnesses and the imperial notary
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of the arches with Episodes from the Life of St. Augustine, as was customary in cloisters of the time, but no trace of these paintings is now preserved. In the center of the cloister there is a
669:. Some sarcophagi and sepulchral slabs that were on the walls of the naves were moved outside to the first cloister, while the Lavagnoli and Cavalcanti sepulchres were walled up on the facade.
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had already been completed, at least in part. In the following years the interior of the church was decorated and enriched while, in 1476, the jurist Cristoforo Lanfranchini commissioned a new
993:, in the left arm. Finally, on the left of the chancel is the chapel of St. Rita, also known as St. Augustine's, and on the right is the Spolverini Dal Verme chapel, or Chapel of the Angels.
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The start of construction was not immediate since in the following years the Augustinians had to obtain, through purchases and donations, the land on which the buildings destined for their
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were housed there. The monastery could boast a valuable library founded in 1387 and inside which, in 1784, the theologian and jurist Paolo Canciani found a 10th-century codex containing
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to the sculptor Gaudenzio Bellini. It is presented as a work characterized by the great wealth of marble employed in its creation. A canvas representing St. Christopher, a 1690 work by
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The next altar, made of alternating red and white marble, also dates from the late 16th century. Its altarpiece, depicting Saint Barbara and Saints Anthony Abbot and Roch, was made by
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966:, in the transept cross vault covering; coffered decoration and a Last Supper in the chancel covering; a Sacred Heart of Jesus and four Saints in the five segments of the apse basin.
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to the Augustinians of 1,000 lire, the same amount that Diamante Dal Verme (wife of Giacomo Dal Verme) left in 1361 for the construction of the main chapel (later completed thanks to
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Left wall: on the lower section frescoes from the end of the 14th century (Madonna and Child between two Saints and a devotee and fragments of Saints), on the upper section works by
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interior spaces, and at the same time the two pre-existing ones were closed. In the same years a stone statue depicting the Madonna was removed from the interior to be relocated to
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As mentioned, the church of St. Euphemia was part of a much larger complex that included the monastery of the Augustinians. This consisted of a large building body flanked by two
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1086:, a work from the early 19th century. Giovanni Caliari is the author of the canvas placed around the niche in 1834 depicting Saints Joseph, Anna, Euphemia and Teresa. The altar
726:, severely damaged the church's facade. In the same year it was promptly restored, opting, however, to replace the large central eighteenth-century single lancet window with a
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and side chapels (lit by tall ogival windows) is reinforced by angular pilasters. Along the southern elevation is a side entrance composed of a portal with molded piers and
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very Gothic influences, fuzzy and diminutive signatures, small figures, approaching without further spatial sensitivity,” which would greatly influence local painters.
847:, has a square base and a massive brick shaft made of terracotta bricks. Three-mullioned windows open into the belfry, surmounted by a conical roof and four pinnacles.
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sculptural group of the PietĂ of St. Euphemia attributable to the second half of the 14th century, the oldest work preserved in the church and the oldest depiction of
457:. In those years there were many Veronese citizens of various social backgrounds who asked to be buried in the church of Sant'Eufemia, where the bodies of the sons of
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Presbytery area, on the right and left walls the two large canvases covering the ancient frescoes, at the back Brusasorzi's canvas over the Dal Verme funeral monument
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leaving, in 1301, the considerable sum of 1,000 lire to each mendicant order present in the city so that, at least the Augustinians and Dominicans, could use them “
1682:, the fresco, which bears the author's signature “STEFANUS / PINXIT,” is now in a poor condition that only hints at the chromatic richness it could have boasted.
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548:. A great many artists of the Veronese school of painting made their contributions in the creation of canvases and altarpieces displayed inside, among them were
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executor, also participated in the signing as a witness. It is probable that between the end of the 14th century and the beginning of the following century the
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1276:, an Augustinian saint venerated in St. Euphemia since the second half of the 14th century. It is placed in a niche surrounded by 15 small canvases painted by
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endowed with arms of particularly shallow depth and a chancel raised two steps above the rest of the space, terminating in a five-sided, polygonal development
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1509:, the Coronation of the Virgin, discovered on March 22, 1966 after the removal of the elevation of a piece of furniture and restored three years later; its
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The church has a gabled facade facing southwest and made of brick. The entrance, which is preceded by a white stone staircase, consists of a portal with a
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mentions the canvas telling that it was originally made for the Bombardieri chapel. In addition, it is known that it was also originally enriched with a
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of the arches are embossed the coats of arms of the monastery's benefactor families who supported the work for its construction. Above the arches, a
1491:, as attested by the signature “Paulus Farina / tus P. MDLXXIII” discovered in 1950, which refutes the earlier erroneous attribution that indicated
855:. These were joined in 1949 by a sixth bell, also cast by the Cavadinis. A few years after the installation of the first five bronzes, a society of
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Of particular note is the elegant furniture of the sacristy composed of two cabinets placed on either side of the altar, decorated with a complex
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The third altar was built in the second half of the 16th century but underwent extensive remodeling during the 18th century. The Veronese painter
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depicted St. Paul at the feet of Ananias, formerly placed on the fifth altar to the south, or from a side entrance located along the right side.
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dating from 1533, the four faces of which are decorated on the corners with acanthus leaves on which are engraved the words “Ave Maria” and the
1678:, which was detached in 1958 from its previous location outside the church, above the portal on the eastern side. Mentioned with admiration by
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On the pilaster that separates the apse from the span of the chapel, the bas-relief with the coat of arms commemorating the marriage between
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of the same name, which in the mid-13th century had about 500 souls. In the same years, just outside Verona there was already a community of
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Having passed through the main doorway, heading toward the left side of the hall, one encounters hanging on the wall a canvas attributed to
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in which he painted a Trinity with Saints Anthony Abbot, Louis, King of France, Peter and Augustine shortly before 1577. The work is in the
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on pillars on which is painted a choir of angels, is an additional altar dedicated to the Blessed Sacrament, in the right arm, and the
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mullioned window; it consists of a red Verona marble ark and belonged to Cavalcano dei Cavalcani but later passed to the Banda counts.
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dating from 1601; placed here since 1968, when it was moved from its original location to the right of the main portal, it is made of
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As soon as one enters, on the right side of the nave, hangs a painting of a Magdalene in seventeenth-century style, a late work by
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On the left wall hangs, from the early decades of the nineteenth century, a large canvas depicting an Annunciation by the painter
823:
of the VeritĂ family, made in 1566, the elegance of which has suggested that the design may have belonged to the Veronese painter
219:
that still distinguishes it today. From the end of the fourteenth century work continued on the various chapels and minor altars.
1805:“Paolo Caliari” middle school. The seventeenth-century cloister, on the other hand, was restored by the Superintendence in 1947.
2302:
3310:
1399:
1375:
544:, known as Il Riccio, no longer present in the church (in their place there are imitations today) because they were subject to
1423:
1411:
1387:
1349:
Finally, on the left side, before reaching the arch that divides the nave from the presbytery, there is a door leading to the
835:
441:
had to be expanded, as the number of monks steadily increased, also due to the arrival of clerics from foreign countries. The
1792:
Planimetry of the ground and second floors including both cloisters, made by k.k. Genie-Direktion Verona in the 19th century.
1435:
1315:
Continuing toward the chancel is the sixth altar. It was made in 1573 on the commission of the nobleman Gasparo VeritĂ . With
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1152:
1200:
1188:
1164:
2716:
1212:
193:, where a church building probably already existed in the 6th century. The foundation of the present church is owed to the
676:
The church of Santa Eufemia as it looked in 1938. Note the large central eighteenth-century window, replaced in 1945 by a
1769:
Albertino da Verona, the latter of whom was sent in 1264 to preach in England. In later centuries Bishop Teobaldo Fabri,
453:
stayed in the monastery on January 20, 1320 on the occasion of his return to the city for an oral exposition of his work
2843:
1046:
540:
was restored and the high altar was decorated, which was embellished with three bronze panels by the Trentino sculptor
3162:
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1627:
623:
In these years the monastery could boast the presence of as many as 50 friars supported by an annual income of 1,000
1619:
1595:
1576:
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1819:
706:
655:
on the ceiling and large arch between the nave and chancel, some of the major works carried out in the 18th century
311:
at least the 6th century and spanned a single block of the ancient Roman urban fabric. In 1117 Verona was hit by a
207:
3248:
3253:
3207:
1560:. Below it is the funeral monument of the Dal Verme family built by Jacopo Dal Verme in the late 14th century.
532:
Throughout the 16th century the church underwent intense embellishment of its interior in accordance with late
887:, but inserting new elements and favoring a certain play of light between the upper light and the lower dark.
3142:
3092:
1665:
1298:
860:
3222:
996:
The space is accessible from the main entrance located along the façade, via a wooden door above which is a
3157:
3097:
3036:
1725:
1499:
1082:
In the center of the next altar, the fourth, there is placed inside a niche a wooden sculpture depicting a
997:
812:
628:
235:
82:
1245:, known as “il Moretto,” who painted around 1540 a Madonna in Glory and Saints Onofrio and Antonio Abate.
1106:
from another church suppressed during the Napoleonic occupation. Originally placed here was a painting by
392:... eligo sepulturam corporis mei positam in arca Ecclesie Sancte Euphemie penes portam magnam extra murum
2958:
1522:
1131:
1071:, which has now disappeared with the frame, in which some scenes of the saint's martyrdom were depicted.
3122:
3082:
1257:. In the center of the altar is a wooden crucifix emerging from a dark background on which the painter
985:, between which are fourteen altars, seven on each side; in the transept, separated from the nave by a
3212:
3031:
3026:
1609:
1600:
1316:
800:
in light-colored stone. Above the small entrance is a cusped niche inside which originally stood the
549:
545:
250:
718:
20th century. On April 25, 1945, the explosion of the nearby Victory Bridge, blown up by retreating
1649:
would assign to his brother Giovanni Caroto. On them are depicted Saint Apollonia and Saint Lucia.
474:
433:
dating from around 1426, originally placed externally above the side portal and now in the interior
335:
198:
143:
1752:
1608:
chapel, while in the later ones one can identify interventions that can be traced back to 1508 by
1027:
The first altar on the right side was built by the Lavagnoli family in the late 16th century. The
234:
from the hall. These were also the years of decline for the monastery, already depopulated by the
3087:
1483:
1463:
1282:
1040:
907:
769:
320:
249:
The vast interiors contain valuable works by several painters of the Veronese school, including:
421:
3284:
3057:
3052:
1721:
1451:
1297:
region; some critics have noted the similarity with the famous Roettgen PietĂ preserved in the
1241:
in 1632 by Filippo Torriani. The altarpiece placed here in the mid-19th century is the work of
1121:, an Augustinian saint. Made around the middle of the 18th century, it features an interesting
891:
465:
312:
212:
1264:
1228:
1012:
871:
792:, which illuminate the space of the inner hall. The image of the polygonal development of the
743:
3217:
3192:
1728:
that scourged the city of Verona and the monastery. On the left is a small washbasin made of
1273:
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1083:
890:
The cloister is characterized by a succession of round arches, supported by tall columns and
856:
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756:
502:
403:
371:
203:
327:, similar to the other religious buildings that were built in the Verona area at that time.
1741:
1641:
1113:
The most architecturally remarkable altar, partly because of the use of yellow marble from
147:
8:
3177:
3107:
1824:
1585:
1357:, who signed it “PAOLUS FARINA / TUS P. MDLXX/III,” depicting the Archangel St. Michael.
1304:
The fifth altar was made in 1744 through the commission made in the previous year by the
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1118:
600:
506:
139:
134:
28:
694:
2981:
1814:
1788:
1556:
1324:
1242:
884:
557:
478:
458:
316:
258:
1736:
On the right wall is a canvas, depicting a Saint Nicholas of Tolentino, attributed to
2298:
1729:
1675:
1536:
1506:
1471:
1455:
1277:
1122:
1091:
1058:
1051:
1001:
906:
cornice initiates the upper order consisting of a solid wall on which windows with a
808:
561:
553:
430:
262:
254:
227:
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During the 18th century the building underwent several tamperings that affected the
2995:
1770:
1653:
1343:
1335:
1328:
1309:
1114:
1099:
959:
852:
686:
607:, the interior was remodeled, and in particular the old rood screen separating the
604:
573:
482:
362:
274:
180:
969:
913:
In the 17th century the painter Bernardino Muttoni was commissioned to fresco the
509:
to replace the previous one considered very modest in relation to the new church.
246:
was built to replace the 18th-century single-lancet window during reconstruction.
1737:
1589:
1564:
1492:
1339:
1075:
1036:
1021:
986:
978:
698:
690:
588:
577:
517:
450:
437:
In the following years the rooms of the monastery dedicated to accommodation and
278:
177:
1797:
1644:
and replaced on site by a 1934 copy by Gaetano Miolato, in which in the central
615:
was removed, as it was no longer suitable for the new arrangements. Later a new
3197:
1679:
1488:
1467:
1354:
1062:
1043:. The base of the columns bears the coats of arms of the commissioning family.
1032:
824:
637:
592:
569:
565:
525:
270:
266:
49:
1261:
painted the figures of Mary and St. John absorbed in grief over Jesus' death.
941:
The plan of the church has a single hall and is markedly longitudinal, with a
636:
parish church, made in 1694 by Giovanni Battista Ranghieri with sculptures by
226:
and the interior spaces, where a vaulted ceiling was made to hide the ancient
3299:
1704:
1547:
1258:
1237:
1107:
933:
903:
648:
581:
541:
415:
375:
366:
Sepulchre of the nobleman Cavalcano de' Cavalcani on the facade of the church
330:
In late medieval Verona, Sant'Eufemia stood in the Capitani district and the
282:
104:
91:
1694:
215:
in 1340 made it possible to further enlarge the church by building the vast
950:
895:
773:
752:
723:
661:
652:
410:” that is, for the buildings of their respective churches. In 1325, with a
395:
379:
56:
1778:
1709:
1320:
982:
922:
727:
677:
533:
486:
243:
408:... ad faciedum fieri Ecclesiam ipsorum fratrum solummodo expendedas...,
298:
1637:
1487:
door hangs a canvas depicting a St. Michael the Archangel, the work of
1476:
1028:
990:
963:
797:
666:
521:
498:
411:
1079:
Cerea nobles whose noble arms are depicted on the sides of the mensa.
2950:
719:
672:
351:
339:
223:
1782:
1761:
1645:
1350:
1067:
942:
899:
880:
820:
789:
777:
760:
616:
537:
477:, who was assassinated by his brother on December 14, 1359, left a
442:
347:
239:
194:
1290:
1531:
1510:
1312:, is enclosed in a frame of yellow marble from Torri del Benaco.
1087:
914:
844:
643:
633:
612:
231:
2259:
Le chiese delle diocesi italiane, Conferenza Episcopale Italiana
937:
Floor plan of the church and outbuildings (18th or 19th century)
378:, would later be erected. Thus it had to wait ten years for the
1717:
1613:
1551:
1502:
1294:
1250:
955:
918:
859:
was also founded, later reuniting with the oldest group in the
801:
730:
that would give the building its original medieval appearance.
446:
306:
dating back to the 10th century, depicts the early church there
303:
184:
74:
2899:
Sant'Eufemia: storia di una chiesa e del suo convento a Verona
1571:
1546:, however, is a canvas, restored in 1988, by Veronese painter
977:
The sides of the hall are marked by a series of pilasters of
624:
189:
1724:
Egidio Morosini in 1629, shortly before the outbreak of the
1756:
The main cloister, a 17th-century work by Domenico Curtoni.
1543:
946:
815:
and preserved in the chapel of St. Rita inside the church.
793:
710:
reduced part of the convent they had been granted in 1806.
608:
470:
324:
216:
1331:
late in his life, depicting the Wedding of St. Catherine.
1102:, proceeded to sign and date it “AUGUS. UGOLINI P. 1800."
2255:"Chiesa di Sant′Eufemia Vergine e Martire <Verona>"
2890:
Magna Verona vale: studi in onore di Pierpaolo Brugnoli
1535:
canvas, of a large fresco depicting a Last Judgment by
879:
It is possible to date the construction of the present
1660:
1253:
is a sculpture, Eternal between two angels, carved by
3316:
14th-century Roman Catholic church buildings in Italy
2837:
2835:
2833:
1319:
forms reminiscent of the work of the famous Veronese
843:
The bell tower, leaning against the left side of the
1146:
First altar on the right, starting from the entrance
772:. The façade concludes with an eaves decorated with
2935:
Sant'Eufemia: arte e architettura tra fede e storia
2888:Andrea Brugnoli; Gian Maria Varanini, eds. (2008).
1498:In the right arm of the crossing is an interesting
1369:
First altar on the left, starting from the entrance
1050:Saint Barbara and Saints Anthony Abbot and Roch by
302:Raterian iconography, the oldest representation of
206:, the building could be consecrated in 1331 by the
2830:
2281:
2279:
2277:
2275:
1863:
512:
187:'s historic center. It straddles an ancient Roman
2249:
2247:
2245:
2243:
2241:
2239:
660:out on the interior involved the ceiling where a
536:trends. In the first decades of the century, the
3297:
1272:In the center of the third altar is a statue of
2272:
763:. Above and in axis with the portal is a large
2887:
2841:
2663:
2236:
644:From the beginning of decadence to the present
2966:
2919:. Verona: SocietĂ cattolica di assicurazione.
2139:
2137:
1853:
1851:
323:, with the interior space divided into three
2926:Le chiese di Verona: guida storico-artistica
2505:
2503:
2501:
2488:
2486:
2471:
2461:
2459:
2401:
2399:
2397:
2384:
2382:
2380:
2059:
2057:
1972:
1970:
981:set on a high plinth and supporting the top
449:. It is not certain but it is believed that
238:, culminating in the suppression ordered by
1572:Right apse (or Spolverini-Dal Verme chapel)
1530:Originally, the walls of the church's vast
1334:The seventh and last altar is dedicated to
599:The following year, in accordance with the
445:was renovated and its walls decorated with
2973:
2959:
2713:"Sant'Eufemia, scrigno dell'arte veronese"
2134:
1848:
27:
2498:
2483:
2456:
2394:
2377:
2054:
1967:
1669:Funeral monument of the Guarienti family.
1039:but with some features characteristic of
1007:
1787:
1751:
1693:
1664:
1626:
1618:
1594:
1575:
1521:
1450:
1263:
1227:
1223:
1045:
1011:
968:
932:
870:
834:
742:
671:
647:
516:
420:
361:
297:
293:
3088:San Fermo Minore di BrĂ (dei Filippini)
2905:
2896:
2812:
2800:
2788:
2776:
2764:
2740:
2736:
2734:
2639:
2635:
2633:
2631:
2622:
2610:
2606:
2604:
2602:
2581:
2569:
2557:
2545:
2521:
2509:
2492:
2477:
2465:
2450:
2426:
2405:
2388:
2359:
2347:
2335:
2323:
2285:
2230:
2218:
2194:
2167:
2155:
2128:
2116:
2087:
2063:
2048:
2036:
2024:
2012:
2000:
1988:
1961:
1937:
1920:
1884:
1869:
1842:
1517:
759:, and is crowned by a statue depicting
3298:
2980:
2422:
2420:
2418:
2416:
2414:
2190:
2188:
2112:
2110:
2108:
2954:
1933:
1931:
1929:
1880:
1878:
1353:, above which hangs a 1573 canvas by
528:(c. 1577) depicting the Holy Trinity.
2946:. Verona: Edizioni di Vita veronese.
2731:
2628:
2599:
1612:, who went on to cover the previous
910:set at the lower compartments open.
591:allowed the Augustinians to place a
2883:. Verona: Banca Popolare di Verona.
2411:
2185:
2105:
1661:Left apse (or chapel of Saint Rita)
1327:, it houses an altarpiece, made by
1090:was made in the 16th century using
357:
346:This was also made possible by the
315:that destroyed or severely damaged
13:
2941:
2932:
2914:
2878:
2863:
2824:
2699:
2687:
2651:
2593:
2206:
2179:
2143:
2099:
2075:
1976:
1949:
1926:
1908:
1896:
1875:
1857:
1342:from 1618, recalling the style of
14:
3327:
3306:Roman Catholic churches in Verona
2923:
2752:
2675:
2533:
2438:
2371:
1623:The vaulted ceiling of the chapel
875:Cloister of the ancient monastery
705:An overall reorganization of the
632:altar, later sold in 1836 to the
2942:Umberto Gaetano Tessari (1955).
2915:Giuseppe Franco Viviani (2004).
2305:from the original on 29 May 2020
1820:Roman Catholic Diocese of Verona
1434:
1422:
1410:
1398:
1386:
1374:
1362:
1211:
1199:
1187:
1175:
1163:
1151:
1139:
640:and paintings by Pietro Ronchi.
485:), to which he added 60 for the
388:Bonzaninus filius quondam Ventai
374:, such as refectory, parlor and
2872:
2857:
2818:
2806:
2794:
2782:
2770:
2758:
2746:
2705:
2693:
2681:
2669:
2657:
2645:
2616:
2587:
2575:
2563:
2551:
2539:
2527:
2515:
2444:
2432:
2365:
2353:
2341:
2329:
2317:
2291:
2224:
2212:
2200:
2173:
2161:
2149:
2122:
2093:
2081:
2069:
2042:
2030:
2018:
2006:
1994:
1982:
1955:
1117:, is the seventh, dedicated to
861:church of San Giorgio in Braida
513:Late Renaissance embellishments
338:hermits who had arrived in the
2933:Alberto Maria Sartori (2016).
1943:
1914:
1902:
1890:
1836:
733:
230:and a large arch dividing the
1:
3311:Gothic architecture in Verona
2879:Giorgio Borelli, ed. (1980).
2664:Brugnoli & Varanini (2008
1830:
1299:Rheinisches Landesmuseum Bonn
962:and the Four Prophets in the
830:
587:On February 26, 1601, Bishop
464:A new permission, granted by
3203:Santa Teresa di GesĂą Bambino
2881:Chiese e monasteri di Verona
1747:
7:
2906:Nelly Zanolli Gemi (1992).
2897:Nelly Zanolli Gemi (1991).
2844:"Convento di Santa Eufemia"
1808:
1773:, Giuseppe Panfilo (future
1689:
1446:
949:. The hall is covered by a
928:
866:
738:
697:and Brusasorzi. During the
489:and 25 for the poor of the
10:
3332:
2944:La chiesa di Santa Eufemia
2924:Gianfranco Benini (1988).
1720:and made at the behest of
1642:Castelvecchio Civic Museum
1580:The entrance to the chapel
1458:, Coronation of the Virgin
288:
3267:
3236:
3198:Santa Teresa degli Scalzi
3168:San Paolo in Campo Marzio
3068:Cuore Immacolato di Maria
3063:Santa Caterina alla Ruota
3045:
3019:
2988:
2910:. Verona: Edizioni B.P.V.
2901:. Verona: Progei Editori.
603:directions following the
455:Quaestio de aqua et terra
162:
154:
133:
125:
120:
105:45.4431667°N 10.9934778°E
81:
70:
65:
55:
43:
38:
26:
21:
3133:Santa Maria del Paradiso
3128:Santa Maria Consolatrice
1698:Interior of the sacristy
776:and is crowned by three
546:Napoleonic confiscations
183:located in the heart of
3249:Santa Maria di Chiavica
3213:San Tomaso Cantuariense
3138:Santa Maria della Scala
3027:Sant'Anastasia Basilica
1640:, now preserved at the
1610:Giovan Francesco Caroto
1601:Giovan Francesco Caroto
1462:In the left arm of the
1132:Gian Domenico Cignaroli
1110:that no longer exists.
1041:Counter-Reformation art
550:Giovan Francesco Caroto
493:assisted by the monks.
251:Giovan Francesco Caroto
22:Church of Santa Eufemia
16:Church in Verona, Italy
3254:San Matteo con Cortile
3237:Deconsecrated churches
3208:Sante Teuteria e Tosca
2928:. Arte e natura libri.
1793:
1757:
1699:
1670:
1632:
1624:
1604:
1581:
1527:
1459:
1269:
1233:
1092:red marble from Verona
1054:
1017:
1016:Right side of the nave
1008:Right side of the nave
974:
973:Interior of the church
938:
876:
840:
805:Glory of St. Augustine
780:, also made of brick.
748:
681:
656:
560:, Dionisio Battaglia,
529:
466:Mastino II della Scala
434:
427:Glory of St. Augustine
367:
313:devastating earthquake
307:
261:, Dionisio Battaglia,
213:Mastino II della Scala
174:church of Sant'Eufemia
110:45.4431667; 10.9934778
83:Geographic coordinates
3280:San Giovanni in Sacco
3173:San Pietro Incarnario
3153:San Michele Arcangelo
3143:Santa Maria in Organo
3103:San Giovanni in Valle
3093:San Giorgio in Braida
3011:Biblioteca capitolare
3006:San Giovanni in Fonte
2892:. Verona: La grafica.
2803:, pp. 136, 140).
2767:, pp. 135, 140).
1791:
1755:
1697:
1668:
1630:
1622:
1598:
1579:
1542:At the bottom of the
1525:
1454:
1274:Nicholas of Tolentino
1267:
1249:white marble; on the
1231:
1224:Left side of the nave
1128:Giambettino Cignaroli
1084:Madonna of the Girdle
1049:
1015:
972:
958:motif with a central
936:
874:
857:Veronese bell ringers
838:
746:
675:
651:
520:
424:
365:
301:
294:Origins of the church
3228:San Zeno in Oratorio
3163:San Nicolò all'Arena
3158:Santi Nazaro e Celso
3098:San Giovanni in Foro
3020:Basilicas and abbeys
2842:Verona fortificata.
2815:, pp. 140–141).
2755:, pp. 108–109).
2584:, pp. 110–112).
2572:, pp. 134–135).
2548:, pp. 132–134).
1742:Castelvecchio Museum
1518:Presbytery and choir
1336:St. Charles Borromeo
1243:Alessandro Bonvicino
1061:at an advanced age.
3188:Santi Siro e Libera
3118:Madonna di Campagna
2917:Chiese nel Veronese
1825:Monuments of Verona
1738:Domenico Brusasorzi
1255:Francesco Filippini
1119:Thomas of Villanova
1076:Domenico Brusasorzi
1000:, in which a young
898:. Centrally on the
601:Counter-Reformation
204:Alberto della Scala
101: /
3268:Destroyed churches
3259:San Pietro Martire
3223:Santissima TrinitĂ
3123:Santa Maria Antica
3083:San Fermo Maggiore
2982:Churches in Verona
2813:Zanolli Gemi (1991
2801:Zanolli Gemi (1991
2789:Zanolli Gemi (1991
2777:Zanolli Gemi (1991
2765:Zanolli Gemi (1991
2741:Zanolli Gemi (1992
2640:Zanolli Gemi (1992
2625:, pp. 49–50).
2623:Zanolli Gemi (1992
2611:Zanolli Gemi (1992
2582:Zanolli Gemi (1992
2570:Zanolli Gemi (1992
2558:Zanolli Gemi (1992
2546:Zanolli Gemi (1992
2522:Zanolli Gemi (1992
2510:Zanolli Gemi (1992
2493:Zanolli Gemi (1992
2480:, pp. 55–57).
2478:Zanolli Gemi (1992
2466:Zanolli Gemi (1992
2453:, pp. 42–45).
2451:Zanolli Gemi (1992
2427:Zanolli Gemi (1992
2406:Zanolli Gemi (1992
2389:Zanolli Gemi (1992
2362:, pp. 46–48).
2360:Zanolli Gemi (1991
2348:Zanolli Gemi (1991
2336:Zanolli Gemi (1991
2324:Zanolli Gemi (1991
2286:Zanolli Gemi (1991
2231:Zanolli Gemi (1992
2221:, pp. 35–37).
2219:Zanolli Gemi (1992
2195:Zanolli Gemi (1992
2168:Zanolli Gemi (1992
2158:, pp. 32–33).
2156:Zanolli Gemi (1992
2131:, pp. 31–33).
2129:Zanolli Gemi (1992
2117:Zanolli Gemi (1992
2090:, pp. 29–30).
2088:Zanolli Gemi (1992
2064:Zanolli Gemi (1992
2049:Zanolli Gemi (1992
2037:Zanolli Gemi (1992
2025:Zanolli Gemi (1992
2013:Zanolli Gemi (1992
2003:, pp. 21–22).
2001:Zanolli Gemi (1992
1991:, pp. 17–18).
1989:Zanolli Gemi (1992
1962:Zanolli Gemi (1992
1938:Zanolli Gemi (1992
1923:, pp. 13–14).
1921:Zanolli Gemi (1992
1885:Zanolli Gemi (1992
1870:Zanolli Gemi (1992
1845:, pp. 11–12).
1843:Zanolli Gemi (1992
1815:Churches of Verona
1794:
1758:
1700:
1671:
1633:
1625:
1605:
1582:
1528:
1460:
1325:Michele Sanmicheli
1270:
1234:
1055:
1031:is by the painter
1018:
975:
939:
885:Michele Sanmicheli
877:
841:
819:Next there is the
749:
682:
657:
530:
435:
368:
348:Della Scala family
308:
195:Della Scala family
3293:
3292:
3037:San Zeno Basilica
2989:Cathedral complex
1860:, pp. 9–10).
1730:red Verona marble
1676:Stefano da Verona
1586:Archangel Raphael
1548:Felice Brusasorzi
1537:Martino da Verona
1507:Martino da Verona
1505:, most likely by
1472:red Verona marble
1456:Martino da Verona
1278:Domenico Zanconti
1238:Felice Brusasorzi
1108:Felice Brusasorzi
1059:Francesco Torbido
1052:Francesco Torbido
1037:Renaissance style
1002:Battista del Moro
839:Church bell tower
809:Stefano da Verona
707:diocese of Verona
582:Felice Brusasorzi
562:Battista del Moro
554:Francesco Torbido
461:also found rest.
431:Stefano da Verona
398:was consecrated.
384:bishop of Ferrara
283:Felice Brusasorzi
263:Battista del Moro
255:Francesco Torbido
170:
169:
3323:
3275:San Fermo Minore
2975:
2968:
2961:
2952:
2951:
2947:
2938:
2929:
2920:
2911:
2902:
2893:
2884:
2867:
2861:
2855:
2854:
2852:
2850:
2839:
2828:
2822:
2816:
2810:
2804:
2798:
2792:
2786:
2780:
2774:
2768:
2762:
2756:
2750:
2744:
2738:
2729:
2728:
2726:
2724:
2715:. Archived from
2709:
2703:
2697:
2691:
2685:
2679:
2673:
2667:
2661:
2655:
2649:
2643:
2637:
2626:
2620:
2614:
2608:
2597:
2591:
2585:
2579:
2573:
2567:
2561:
2555:
2549:
2543:
2537:
2531:
2525:
2519:
2513:
2507:
2496:
2490:
2481:
2475:
2469:
2463:
2454:
2448:
2442:
2436:
2430:
2424:
2409:
2403:
2392:
2386:
2375:
2369:
2363:
2357:
2351:
2345:
2339:
2333:
2327:
2321:
2315:
2314:
2312:
2310:
2295:
2289:
2283:
2270:
2269:
2267:
2265:
2251:
2234:
2228:
2222:
2216:
2210:
2204:
2198:
2192:
2183:
2177:
2171:
2165:
2159:
2153:
2147:
2141:
2132:
2126:
2120:
2114:
2103:
2097:
2091:
2085:
2079:
2073:
2067:
2061:
2052:
2046:
2040:
2034:
2028:
2022:
2016:
2010:
2004:
1998:
1992:
1986:
1980:
1974:
1965:
1959:
1953:
1952:, pp. 7–8).
1947:
1941:
1935:
1924:
1918:
1912:
1906:
1900:
1899:, pp. 6–7).
1894:
1888:
1882:
1873:
1867:
1861:
1855:
1846:
1840:
1771:Onofrio Panvinio
1654:Jacopo Dal Verme
1438:
1426:
1414:
1402:
1390:
1378:
1366:
1344:Federico Barocci
1329:Bernardino India
1310:Ludovico Dorigny
1215:
1203:
1191:
1179:
1167:
1155:
1143:
1115:Torri del Benaco
1100:Agostino Ugolini
853:Luigi di Canossa
605:Council of Trent
574:Bernardino India
483:Jacopo Dal Verme
459:Guido da Polenta
358:The construction
321:Romanesque style
275:Bernardino India
208:bishop of Verona
181:place of worship
116:
115:
113:
112:
111:
106:
102:
99:
98:
97:
94:
57:Year consecrated
31:
19:
18:
3331:
3330:
3326:
3325:
3324:
3322:
3321:
3320:
3296:
3295:
3294:
3289:
3263:
3232:
3041:
3015:
2984:
2979:
2875:
2870:
2862:
2858:
2848:
2846:
2840:
2831:
2823:
2819:
2811:
2807:
2799:
2795:
2791:, p. 140).
2787:
2783:
2779:, p. 135).
2775:
2771:
2763:
2759:
2751:
2747:
2739:
2732:
2722:
2720:
2719:on 15 June 2015
2711:
2710:
2706:
2698:
2694:
2690:, p. 482).
2686:
2682:
2678:, p. 108).
2674:
2670:
2662:
2658:
2650:
2646:
2638:
2629:
2621:
2617:
2609:
2600:
2596:, p. 436).
2592:
2588:
2580:
2576:
2568:
2564:
2560:, p. 135).
2556:
2552:
2544:
2540:
2536:, p. 109).
2532:
2528:
2524:, p. 132).
2520:
2516:
2508:
2499:
2491:
2484:
2476:
2472:
2464:
2457:
2449:
2445:
2441:, p. 106).
2437:
2433:
2425:
2412:
2404:
2395:
2387:
2378:
2374:, p. 110).
2370:
2366:
2358:
2354:
2346:
2342:
2334:
2330:
2322:
2318:
2308:
2306:
2297:
2296:
2292:
2284:
2273:
2263:
2261:
2253:
2252:
2237:
2229:
2225:
2217:
2213:
2205:
2201:
2193:
2186:
2178:
2174:
2166:
2162:
2154:
2150:
2142:
2135:
2127:
2123:
2115:
2106:
2098:
2094:
2086:
2082:
2074:
2070:
2062:
2055:
2047:
2043:
2035:
2031:
2023:
2019:
2011:
2007:
1999:
1995:
1987:
1983:
1975:
1968:
1960:
1956:
1948:
1944:
1936:
1927:
1919:
1915:
1907:
1903:
1895:
1891:
1883:
1876:
1868:
1864:
1856:
1849:
1841:
1837:
1833:
1811:
1798:Napoleonic army
1775:bishop of Segni
1750:
1692:
1663:
1574:
1565:Claudio Ridolfi
1520:
1495:as the author.
1493:Pasquale Ottino
1449:
1442:
1439:
1430:
1427:
1418:
1415:
1406:
1403:
1394:
1391:
1382:
1379:
1370:
1367:
1340:Claudio Ridolfi
1306:Arte degli Osti
1226:
1219:
1216:
1207:
1204:
1195:
1192:
1183:
1180:
1171:
1168:
1159:
1156:
1147:
1144:
1130:in about 1768.
1022:Giulio Carpioni
1010:
998:detached fresco
979:composite order
931:
869:
833:
741:
736:
720:German soldiers
699:Veronese Easter
646:
589:Agostino Valier
515:
451:Dante Alighieri
360:
296:
291:
109:
107:
103:
100:
95:
92:
90:
88:
87:
34:
17:
12:
11:
5:
3329:
3319:
3318:
3313:
3308:
3291:
3290:
3288:
3287:
3285:San Sebastiano
3282:
3277:
3271:
3269:
3265:
3264:
3262:
3261:
3256:
3251:
3246:
3240:
3238:
3234:
3233:
3231:
3230:
3225:
3220:
3215:
3210:
3205:
3200:
3195:
3190:
3185:
3180:
3175:
3170:
3165:
3160:
3155:
3150:
3145:
3140:
3135:
3130:
3125:
3120:
3115:
3110:
3105:
3100:
3095:
3090:
3085:
3080:
3075:
3070:
3065:
3060:
3058:San Bernardino
3055:
3053:Santi Apostoli
3049:
3047:
3043:
3042:
3040:
3039:
3034:
3032:San Zeno Abbey
3029:
3023:
3021:
3017:
3016:
3014:
3013:
3008:
3003:
2998:
2992:
2990:
2986:
2985:
2978:
2977:
2970:
2963:
2955:
2949:
2948:
2939:
2930:
2921:
2912:
2903:
2894:
2885:
2874:
2871:
2869:
2868:
2866:, p. 20).
2856:
2829:
2827:, p. 19).
2817:
2805:
2793:
2781:
2769:
2757:
2745:
2743:, p. 50).
2730:
2704:
2700:Sartori (2016)
2692:
2680:
2668:
2666:, p. 93).
2656:
2654:, p. 24).
2644:
2642:, p. 46).
2627:
2615:
2613:, p. 49).
2598:
2586:
2574:
2562:
2550:
2538:
2526:
2514:
2512:, p. 53).
2497:
2495:, p. 54).
2482:
2470:
2468:, p. 57).
2455:
2443:
2431:
2429:, p. 42).
2410:
2408:, p. 45).
2393:
2391:, p. 41).
2376:
2364:
2352:
2350:, p. 46).
2340:
2338:, p. 48).
2328:
2326:, p. 45).
2316:
2299:"Sant'Eufemia"
2290:
2288:, p. 38).
2271:
2235:
2233:, p. 37).
2223:
2211:
2209:, p. 17).
2199:
2197:, p. 34).
2184:
2182:, p. 14).
2172:
2170:, p. 33).
2160:
2148:
2146:, p. 13).
2133:
2121:
2119:, p. 30).
2104:
2102:, p. 12).
2092:
2080:
2078:, p. 11).
2068:
2066:, p. 29).
2053:
2051:, p. 26).
2041:
2039:, p. 25).
2029:
2027:, p. 22).
2017:
2015:, p. 21).
2005:
1993:
1981:
1966:
1964:, p. 17).
1954:
1942:
1940:, p. 14).
1925:
1913:
1901:
1889:
1887:, p. 13).
1874:
1872:, p. 11).
1862:
1847:
1834:
1832:
1829:
1828:
1827:
1822:
1817:
1810:
1807:
1749:
1746:
1744:, is unknown.
1726:plague of 1630
1691:
1688:
1680:Giorgio Vasari
1662:
1659:
1631:The altarpiece
1573:
1570:
1519:
1516:
1489:Paolo Farinati
1482:A door with a
1468:baptismal font
1448:
1445:
1444:
1443:
1440:
1433:
1431:
1428:
1421:
1419:
1416:
1409:
1407:
1404:
1397:
1395:
1392:
1385:
1383:
1380:
1373:
1371:
1368:
1361:
1355:Paolo Farinati
1293:in the entire
1225:
1222:
1221:
1220:
1217:
1210:
1208:
1205:
1198:
1196:
1193:
1186:
1184:
1181:
1174:
1172:
1169:
1162:
1160:
1157:
1150:
1148:
1145:
1138:
1063:Giorgio Vasari
1033:Jacopo Ligozzi
1009:
1006:
987:Serlian window
930:
927:
868:
865:
832:
829:
825:Paolo Farinati
740:
737:
735:
732:
722:at the end of
645:
642:
638:Domenico Aglio
629:plague of 1630
593:baptismal font
570:Jacopo Ligozzi
566:Paolo Farinati
542:Andrea Briosco
526:Jacopo Ligozzi
514:
511:
372:cenobitic life
359:
356:
295:
292:
290:
287:
271:Jacopo Ligozzi
267:Paolo Farinati
236:plague of 1630
197:, who brought
168:
167:
164:
160:
159:
156:
155:Groundbreaking
152:
151:
137:
131:
130:
127:
123:
122:
118:
117:
85:
79:
78:
72:
68:
67:
63:
62:
59:
53:
52:
50:Roman Catholic
47:
41:
40:
36:
35:
32:
24:
23:
15:
9:
6:
4:
3:
2:
3328:
3317:
3314:
3312:
3309:
3307:
3304:
3303:
3301:
3286:
3283:
3281:
3278:
3276:
3273:
3272:
3270:
3266:
3260:
3257:
3255:
3252:
3250:
3247:
3245:
3242:
3241:
3239:
3235:
3229:
3226:
3224:
3221:
3219:
3218:Santa Toscana
3216:
3214:
3211:
3209:
3206:
3204:
3201:
3199:
3196:
3194:
3193:Santo Stefano
3191:
3189:
3186:
3184:
3183:San Rocchetto
3181:
3179:
3176:
3174:
3171:
3169:
3166:
3164:
3161:
3159:
3156:
3154:
3151:
3149:
3146:
3144:
3141:
3139:
3136:
3134:
3131:
3129:
3126:
3124:
3121:
3119:
3116:
3114:
3111:
3109:
3106:
3104:
3101:
3099:
3096:
3094:
3091:
3089:
3086:
3084:
3081:
3079:
3076:
3074:
3071:
3069:
3066:
3064:
3061:
3059:
3056:
3054:
3051:
3050:
3048:
3044:
3038:
3035:
3033:
3030:
3028:
3025:
3024:
3022:
3018:
3012:
3009:
3007:
3004:
3002:
2999:
2997:
2994:
2993:
2991:
2987:
2983:
2976:
2971:
2969:
2964:
2962:
2957:
2956:
2953:
2945:
2940:
2936:
2931:
2927:
2922:
2918:
2913:
2909:
2908:Santa Eufemia
2904:
2900:
2895:
2891:
2886:
2882:
2877:
2876:
2865:
2864:Tessari (1955
2860:
2845:
2838:
2836:
2834:
2826:
2825:Tessari (1955
2821:
2814:
2809:
2802:
2797:
2790:
2785:
2778:
2773:
2766:
2761:
2754:
2749:
2742:
2737:
2735:
2718:
2714:
2708:
2701:
2696:
2689:
2688:Borelli (1980
2684:
2677:
2672:
2665:
2660:
2653:
2652:Tessari (1955
2648:
2641:
2636:
2634:
2632:
2624:
2619:
2612:
2607:
2605:
2603:
2595:
2594:Borelli (1980
2590:
2583:
2578:
2571:
2566:
2559:
2554:
2547:
2542:
2535:
2530:
2523:
2518:
2511:
2506:
2504:
2502:
2494:
2489:
2487:
2479:
2474:
2467:
2462:
2460:
2452:
2447:
2440:
2435:
2428:
2423:
2421:
2419:
2417:
2415:
2407:
2402:
2400:
2398:
2390:
2385:
2383:
2381:
2373:
2368:
2361:
2356:
2349:
2344:
2337:
2332:
2325:
2320:
2304:
2300:
2294:
2287:
2282:
2280:
2278:
2276:
2260:
2256:
2250:
2248:
2246:
2244:
2242:
2240:
2232:
2227:
2220:
2215:
2208:
2207:Tessari (1955
2203:
2196:
2191:
2189:
2181:
2180:Tessari (1955
2176:
2169:
2164:
2157:
2152:
2145:
2144:Tessari (1955
2140:
2138:
2130:
2125:
2118:
2113:
2111:
2109:
2101:
2100:Tessari (1955
2096:
2089:
2084:
2077:
2076:Tessari (1955
2072:
2065:
2060:
2058:
2050:
2045:
2038:
2033:
2026:
2021:
2014:
2009:
2002:
1997:
1990:
1985:
1979:, p. 9).
1978:
1977:Tessari (1955
1973:
1971:
1963:
1958:
1951:
1950:Tessari (1955
1946:
1939:
1934:
1932:
1930:
1922:
1917:
1911:, p. 5).
1910:
1909:Tessari (1955
1905:
1898:
1897:Tessari (1955
1893:
1886:
1881:
1879:
1871:
1866:
1859:
1858:Tessari (1955
1854:
1852:
1844:
1839:
1835:
1826:
1823:
1821:
1818:
1816:
1813:
1812:
1806:
1802:
1799:
1790:
1786:
1785:legal texts.
1784:
1780:
1776:
1772:
1766:
1763:
1754:
1745:
1743:
1739:
1734:
1731:
1727:
1723:
1719:
1714:
1711:
1706:
1705:Andrea Riccio
1696:
1687:
1683:
1681:
1677:
1667:
1658:
1655:
1650:
1647:
1643:
1639:
1629:
1621:
1617:
1615:
1611:
1602:
1597:
1593:
1591:
1590:St. Homobonus
1587:
1578:
1569:
1566:
1561:
1559:
1558:
1553:
1549:
1545:
1540:
1538:
1533:
1524:
1515:
1512:
1508:
1504:
1501:
1496:
1494:
1490:
1485:
1480:
1478:
1473:
1469:
1465:
1457:
1453:
1437:
1432:
1425:
1420:
1413:
1408:
1401:
1396:
1389:
1384:
1377:
1372:
1365:
1360:
1359:
1358:
1356:
1352:
1347:
1345:
1341:
1337:
1332:
1330:
1326:
1322:
1318:
1313:
1311:
1307:
1302:
1300:
1296:
1292:
1286:
1284:
1279:
1275:
1266:
1262:
1260:
1259:Sante Prunati
1256:
1252:
1246:
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142:(exterior),
121:Architecture
3178:San Procolo
3148:San Massimo
3108:San Lorenzo
2849:15 December
1710:antependium
1429:Sixth altar
1417:Fifth altar
1393:Third altar
1321:Renaissance
1206:Sixth altar
1194:Fifth altar
1170:Third altar
983:entablature
964:pendentives
923:christogram
734:Description
728:rose window
678:rose window
534:Renaissance
336:Augustinian
244:rose window
199:Augustinian
144:Renaissance
108: /
45:Affiliation
3300:Categories
3001:Sant'Elena
1831:References
1638:altarpiece
1477:pipe organ
1441:Last altar
1323:architect
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1123:tabernacle
1029:altarpiece
991:baptistery
831:Bell tower
798:architrave
667:Dossobuono
558:Il Moretto
522:Altarpiece
499:bell tower
414:issued by
412:papal bull
396:St. Ursula
259:Il Moretto
150:(interior)
2996:Cathedral
1762:cloisters
1748:Monastery
1557:La Gloria
1317:classical
1268:Left side
1232:Left side
778:pinnacles
611:from the
352:Holy Week
340:Ratherian
163:Completed
3113:San Luca
3046:Churches
2723:19 April
2303:Archived
1809:See also
1690:Sacristy
1646:triptych
1614:frescoes
1500:detached
1484:tympanum
1464:crossing
1447:Crossing
1351:sacristy
1283:keystone
1068:predella
956:coffered
943:transept
929:Interior
915:lunettes
908:tympanum
900:intrados
892:capitals
881:cloister
867:Cloister
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813:detached
790:intrados
770:tympanum
739:Exterior
695:Giolfino
687:Balestra
617:cloister
578:Domenico
538:sacristy
505:in late
491:contrada
447:frescoes
443:cloister
332:contrada
279:Domenico
240:Napoleon
178:Catholic
71:Location
66:Location
39:Religion
2264:May 29,
1783:Lombard
1532:chancel
1511:sinopia
1466:is the
1088:reredos
960:rosette
925:“IHS.”
845:chancel
757:imposts
691:Ridolfi
634:Pinzolo
613:chancel
479:bequest
439:studium
425:Fresco
404:Alberto
289:History
232:chancel
228:trusses
148:Baroque
77:, Italy
2309:29 May
1777:) and
1718:finial
1603:(1508)
1552:Titian
1503:fresco
1295:Veneto
1251:finial
919:puteal
811:, now
802:fresco
765:oculus
627:. The
625:ducats
576:, and
503:portal
304:Verona
277:, and
224:façade
185:Verona
140:Gothic
129:Church
75:Verona
33:Facade
1722:prior
1291:pietĂ
325:naves
190:cardo
176:is a
135:Style
2851:2020
2725:2015
2311:2020
2266:2020
1544:apse
947:apse
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580:and
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382:and
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217:apse
172:The
158:1275
146:and
126:Type
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1588:at
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