Exterior The exterior of the temple represents a fine example of Veronese
Gothic architecture with
Renaissance elements. The unfinished
façade is characterized by various elements, among which a wide portal framed by a
pointed marble arch, a central
rose window and two
biforas at the level of the aisles. On the extreme sides there are two
buttresses that rise above the eaves line and are repeated on both sides up to the
transept, where they are surmounted by hexagonal
pinnacles whose function is to relieve the thrust of the vaults. The lateral elevations are divided in height into two architectural registers, corresponding to the wall of the aisle (the lower register) and the protruding part of the nave (the upper register): the lower sector, in addition to the buttress with pinnacle just described, is characterized by the protruding volumes of the chapels and high mullioned windows, partly closed. The upper sector has a series of
oculi that allow light to enter the nave. On the façade of the right transept, there is a high
trifora and, higher up, a large polylobate Gothic rose window. In the apsidal structures, also characterized by imposing buttresses, there are ogival windows.
Facade The Dominican church is similar in structure to the Venetian
Basilica of Saints John and Paul, which belongs to the same order and was built almost at the same time. The tiered façade, unfinished and mostly in brick, is divided into three bands corresponding to the interior naves. The central band is characterized at the top by a simple
rose window, also unfinished, with an outer circular section and an inner part divided into six sections by means of two vertical supports. The mullioned portal dates back to the first half of the 15th century and belongs stylistically to the early
Renaissance architecture, with strong
Gothic elements. The lower part is occupied by the portal divided into two sections, surmounted by two ogival arches, the whole framed by the Gothic portal, spread by a series of five overlapping pointed arches. The arches are supported by five tall, light ornamental columns in red, white and black marble, the same colors found in the interior floor. the art historian
Adolfo Venturi has recognized in these paintings the influence of the school of
Stefano da Zevio, attributing them to some of his pupils. The smaller arches rest on the
architrave of the portal, which is decorated in
bas-relief with six representations in chronological order of the life of Christ: the Annunciation, the Nativity, the Adoration of the Magi, the Way to Calvary, the Crucifixion and the Resurrection. with the sun below; and on the right, St. Thomas, towering above the moon, holding the Book of the Doctors of the Church, while instructing a young monk. Contrary to what must have been the original plan, only two marble panels were placed on the façade, more precisely on the pilaster to the right of the portal, where they represent, in the first, the preaching of St. Peter the Martyr and, in the second, his martyrdom. Of the four pillars, only the first three, from the left, have two inscriptions on each of them. The first, fourth and sixth inscriptions refer to the miracles performed by the Saint, while the fifth refers to his martyrdom, so that the panels actually made correspond to the fifth and sixth inscriptions. These panels with their frames, which can be dated to the 15th century or the beginning of the next, were supposed to form a large framework that would have kept the existing portal intact. The shaft of the bell tower ends in a
belfry with four
splayed triforas, one on each side, divided by columns with shaft,
pedestal and
capital of
Tuscan order, and a balustrade of small white stone columns of elegant workmanship. From here, in turn, rises a conical spire in terracotta, intersected by slender white stone
ogives. The style of the construction dates it to the 15th century, but it is possible that it was begun even earlier, at the same time as the
apse. There is a document, now lost, dated January 15, 1433, by the notary Antonio of Cavagion (today
Cavaion Veronese), according to which the Dominican monks sold a house for 50 ducats and used the proceeds "for the construction of the bell tower". On three small stones set in the sides of the bell tower, the following inscription is carved in 15th century characters: "CHRISTUS REX | VENIT IN | PACE DEUS | ET HOMO | FATUS EST". According to the historian Ignazio Pellegrini, in 1555 the bell tower was struck by lightning and had to be restored. A similar event occurred in the following century, in 1661, forcing the Dominicans to spend two hundred
ducats to repair the damage. The first five bells, in place since 1460, were in the key of Mi♭ minor and were recast several times over the centuries; the present concert was cast on August 12, 1839, by the Cavadini family "who had their furnaces at Bernarda, in Contrà de S. Nazar" and is in the key of C#. It also consisted of five bronzes weighing more than 45
quintals (15.61 - 10.89 - 7.85 - 6.41 and 4.52 quintals), which were tested on September 2 of the same month and consecrated the next day by Bishop Giuseppe Grasser. The Cavadini firm was again responsible for the production of an additional bell, called "
sestina", weighing about 3.13 quintals, which was added on May 31, 1840, to which three more bronzes (2.43 - 2.07 and 1.42 quintals) from the
church of Santa Maria in Chiavica were added in 1923, bringing the total to nine. The Bell School of Santa Anastasia, founded in 1776, was the leading exponent of the art of
Veronese bell ringing, and the names of the masters Pietro Sancassani and Mario Carregari are associated with it.
Interior The interior of the church, rich in works of art, is divided into three
naves covered with
cross vaults. The naves are separated by two sets of six cylindrical columns in white and
red Verona marble with Gothic
capitals. The two pairs of columns behind the high altar bear the coat of arms of the Castelbarco family of
Avio, with its
rampant lion: the Trentino family was one of the most generous donors to the construction of the building, and in particular Guglielmo di Castelbarco, former
podestà of Verona, wanted to tie himself to the basilica by building the aforementioned funerary ark on the side of Piazza Santa Anastasia, a precursor of the
Scaliger Tombs. separated by plastered and frescoed Gothic pilasters ending in capitals. The central apse contains the presbytery and the high altar, while the side apses contain noble chapels, from right to left those of the Cavalli, Pellegrini, Lavagnoli and Salerni families. The walls of the longitudinal arm of the basilica are largely frescoed and enriched with altars, chapels and funerary monuments of illustrious Veronese citizens; and red, recalling that the church is dedicated to St. Peter the Martyr of Verona. In the fifth bay of the left nave there is a
pipe organ built in 1625 in Baroque style, with a balustrade and gilded columns. The mechanical part was made by Giovanni Cipria from Ferrara, while the wooden part was made by Andrea Cudellino. Domenico Farinati restored it in 1937, reusing the 16th-century case and choir, while in 1967 it was overhauled and electrified by the
Organaria di Padova. The instrument has
tubular-pneumatic action and has two 61-note
manuals and a 32-note concave-radial pedal; it has 30
stops, including two mechanical ones.
Apsidal area The area beyond the transept is divided into five apses where four chapels and, in the central one, the chancel with the high altar are located. They are described below from right to left.
Cavalli Chapel (8) The Cavalli Chapel, on the right side of the apse, is dedicated to
St. Jerome, but was originally named after
St. Geminianus; it is first mentioned in a document concerning a donation made by Giacomo, Nicolò, and Pietro, nobles of the Cavalli family, in 1375. On the right is the
Adoration, the only certain work by
Altichiero in Verona, who perhaps painted it after his return from
Padua, just before 1390, although some scholars date it to 1369 on the basis of a document found in the Veronese archives. In the painting, which represents an ancient feudal tribute, noble knights kneel before the throne of the Virgin placed in a Gothic temple. The painted arches show the noble coat of arms of the Cavalli family on the
keystone. On the listel of the marble case, which is divided on the exposed sides, is an inscription as follows: “S. NOBILIS 7 EGREGII VIRI FEDERICI . 9 EGRE | GII VIRI DNI NICOLAI DE CAVALIS SVORVMQ . HEREDVM QVI SPIRITVM REDIDIT ASTRIS - ANO DNI M . CCC. LXXXX | VII MENSIS SEENBRIS." The walls are also decorated with other frescoes:
The Virgin and Child,
St. Christopher, and the most valuable one,
the Miracle of St. Eligius of Noyon, all three attributed to
Martino da Verona, a painter who died in 1412. On the left is the fresco of the
Baptism of Jesus, attributed to Jacopino di Francesco, a Bolognese painter of the first half of the 14th century, considered one of the fathers of Po Valley painting. The altar is adorned by an
altarpiece painted by
Liberale da Verona, in a richly carved and gilded frame. The chapel is most famous for containing what is considered
Pisanello's masterpiece,
S. George and the Princess, frescoed on the outer wall above the entrance arch between 1433 and 1438. In this work, the late Gothic painter, who worked in the court society, evokes with a sharp and elegant technique a fabulous and chivalrous world. Also noteworthy are the 24 terracotta reliefs by Michele da Firenze, dated 1435, depicting various subjects, including scenes from the
life of Christ, figures of saints and the patron Andrea Pellegrini.
Presbytery (10) The
presbytery is raised a few steps above the rest of the basilica and occupies the entire area of the high
apse, preceded by a square bay covered by a
cross vault; on the right wall is the
Last Judgement, attributed to
Turone di Maxio, while on the left wall is the monument to Cortesia Serego, a
condottiere in the time of the
Scaligeri. The
high altar, dedicated to
St. Peter the Martyr, is made of light yellow marble and was built and consecrated in 1952; previously it was made of a red stone that was later placed at the base of the modern altar. In the center of the altar is a simple marble
tabernacle, placed on March 22, 1529, at the behest of Alessandro dal Monte, who paid for it; above it is a large painted wooden crucifix. The apse is polygonal and is lit by five high arched
monoforas, closed by polychrome
stained glass from 1935, depicting, from left to right,
St. Thomas,
St. Catherine of Siena,
St. Peter the Martyr,
St. Rose of Lima and
St. Dominic de Guzmán. The central monofora was temporarily closed because an altarpiece depicting the titular saint, which no longer exists, was placed above it. On the
triumphal arch is the coat of arms of the
Della Scala family, who contributed significantly to the financing of the construction of the apse. Horse and rider are placed above the sarcophagus, which is divided into seven niches, five at the front and two at the sides, and the whole is set within a heavy stone curtain. Above the curtain are the coat of arms of the Serego family and the figure of the Archangel Gabriel. The monument rises from a panel bordered by a flowering branch and is well integrated with the other representations inserted in the large
frieze in
shades of grey that frames the scene, the latter characterized by the presence of noble coats of arms and heads of Roman emperors; among the representations just mentioned, in the center of an elaborate urban setting, there is an
Annunciation inserted in a
mandorla, in which the Eternal Father finds space surrounded by a cloud of angels, while below are the two Dominican Saints
Peter and
Dominic, surmounted by two angels bearing their symbols. The base of the monument represents a frescoed velarium reminiscent of a
millefiori tapestry. The work was commissioned by Cortesia Serego's son, Cortesia the Younger, who wrote a will in 1424 in which he asked to be buried and commemorated with a monument in Santa Anastasia, although in 1429, in a new document, he wrote that the monument erected would be in memory of his father. It was probably sculpted by a Tuscan who had moved to Veneto for years: Pietro di Niccolò Lamberti, but some authors attribute its execution to
Nanni di Bartolo,
Lavagnoli Chapel (11) . The chapel is dedicated to
St. Anne, although until the 15th century the titular saint was
St. John the Apostle; the earliest record dates from a testament dated January 19, 1480, in which a canon arranged to be buried there. Inside, leaning against the right wall, is a sarcophagus containing the remains of Angelo and Marsilio Lavagnoli, adorned on the sides by two children holding the noble insignia of the Lavagnoli family, which had acquired ownership of the chapel in 1480. The chapel originally had a Baroque altar, now lost, as well as the altarpiece by Francesco Fabi, which was moved to the Giusti Chapel. The extensive restoration of the complex, carried out between 1879 and 1881, also affected this chapel: the Baroque altar in the center of the chapel was removed, but the old large windows were reopened to allow light to enter the interior. The restoration also made it possible to rediscover some of the frescoes that decorated the side walls: those on the right were almost completely destroyed to allow the construction of the Lavagnoli funerary monument, while those on the left were preserved. while the rest of the cycle is by an unknown author, although the clear
Mantegnesque origin of the paintings has allowed attribution to
Francesco Benaglio or
Michele da Verona. Later the chapel passed to the
Arte dei Molinari e dei Mugnai and then to the Dominican convent. On the left, there is a funerary monument, built in a style that can be dated to the end of the 14th century, which contains the remains of Giovanni Salerni, founder of the Veronese branch of the family, who arrived in the city after being expelled from
Pistoia, as the epitaph states; at the top of the
pointed arch there is the coat of arms of the Salerni family, surmounted by a helmet. The chapel preserves a series of frescoes painted between the end of the 14th century and the first half of the next. On the left are votive paintings by
Stefano da Zevio, while on the right are others attributed to Bonaventura Boninsegna, a disciple of
Giotto, including the
Virgin among the Saints; This chapel also underwent a major restoration during the nineteenth century, when the old windows were restored and the murals were cleaned and freed from the plaster that covered them.
Right aisle Listed below are the altars and chapels located on the right aisle, from the entrance to the apsidal area.
Fregoso Altar (1) The first altar encountered, on the right wall of the nave, is the Fregoso Altar. Dating from 1565, it stands where the Chapel of Santa Croce once stood, the first site of the tomb of Giansello da Folgaria. Some scholars have suggested that the design and contours of the artifact were provided by
Andrea Palladio, a friend of Cattaneo's, but debate on the matter has not reached a unanimous resolution. The altar was also celebrated by
Giorgio Vasari in his most famous work,
Le Vite. He also provides a detailed description of the altar, focusing on the family coat of arms placed on the
pediment, marked with the motto "
potius mori quam scedari" and adorned with two
putti. The configuration of the altar resembles that of a triumphal arch with four free-standing columns of
Corinthian order. Between the two columns on the left is a statue representing the
condottiero, while on the right is another representing
Military Virtue. The central statue, set in an
aedicule, represents
Christ the Redeemer, and on the pedestal is carved an inscription attesting to the authorship of the work by Danese Cattaneo: "ABSOLVTVM OPVS AN DO M D LXV DANESIO CATANEO CARRARIENSI SCVLPTORE ET ARCHITECTO". Above the
entablature, there were two other statues with allegorical themes:
Fame and Eternity. On the wall is a
herm set in memory of Abbot Bartolomeo Lorenzi.
Manzini Chapel (2) The altar is dedicated to
Vincent Ferrer, one of the most important Dominican saints, and is therefore called the "Ferrer altar." Its construction was ordered by Gian Nicola del fu Bartolomeo "da Manzinis" in his will of October 15, 1482, in which he also ordered the construction of his tomb, to which he assigned an annual dowry of 25 lire. The altarpiece depicting
St. Vincent Ferrer resurrecting a child is the work of
Pietro Rotari, while the surrounding band is the work of Pietro da Porlezza, who took on the task around September 1485. Around it are frescoes attributed to artists of the
Mantegna school. Inside is the sarcophagus, the work of an anonymous sculptor, of the Corsican Francesco Maria Ornano, a member of the Ornano family, who died in
Vicenza in 1613. On the right of the altar, on a wall, there is a small monument to Vincenzo Pisani,
podestà of
Verona in the second half of the 18th century, made by
Giovanni Angelo Finali to a design by
Adriano Cristofali. it was originally dedicated to
Mary Magdalene and was owned by the Bonaveri family, together with the associated tomb, as it was built with the bequest of Pietro Bonaveri. The sculptural group of the altar of the
Immaculate Conception,
Immaculate Conception with St. Anthony of Padua and St. Joseph, is a work traditionally attributed to
Orazio Marinali of
Bassano and was brought here in the early 19th century from the Oratory of the Conception in the
former church of Santa Maria in Chiavica; the jambs and the arch are in marble with very fine carvings of the 16th century, possibly the work of Pietro da Porlezza.
Pindemonte Altar (4) Dedicated to
St. Martin, it was built in 1541 at the behest of Flavio Pindemonte, as can be seen from the inscription on the family tomb on the right wall: "FLORIVS PINDEMONTIVS || NOBILITATE PRAEFVLGENS || JOANNI VENETORVM || MILITVM DVCTORI || INCLITO AC DESIDERATO || CARISS. FRATRIBUS || AEDEM HANC POSVIT || CVM SEPVLCRO || M D XLII." The altar, an imitation of the front of the
Gavi Arch, a Roman monument in Verona, was made by a stonecutter whose name is known only as Francesco. The large red marble sarcophagus in which the Bishop of Verona, Pietro della Scala, was buried, with a cross carved in relief, serves as an altar. In 1828, the poet
Ippolito Pindemonte was also buried in the same altar, together with his family members Fiorio and Giovanni. The altarpiece, a late work by
Giovan Francesco Caroto dated 1542, depicts
St. Martin giving his cloak to a poor man, with the Virgin in glory, in which one of the famous sunsets by the Veronese painter can be seen. Caroto was a pupil of
Liberale da Verona, from whom he derived formal and chromatic tendencies, but he was also influenced by
Mantegna; and on the wall is a small monument in honor of
Isotta Nogarola. As indicated on a pedestal next to the Mazzoleni family coat of arms, the altar was made in 1592. On the right is the tomb of the family that commissioned it, built in 1602, where the brothers Giacomo, Bartolomeo and Francesco are buried. At first, in the 17th century, it was dedicated to
St. Raymond of Penyafort, but by the middle of the next century it was named after
St. Rose of Lima, who was beatified by
Pope Clement IX in 1668 and was the first saint canonized in South America. The altar consists of two freestanding
Ionic columns in red marble enclosing an
aedicule surmounted by a curvilinear
tympanum. It has been speculated that the architectural design is the work of
Paolo Farinati or his workshop. The
altarpiece was originally the one now in the altar of St. Raymond, begun by
Felice Brusasorzi; the present one, depicting the titular saint, is the work of the Veronese artist Giovanni Ceffis, who created it between 1668 and 1688. Behind the altar is a
reliquary consisting of a series of crystal shrines. a position not shared by all. Other authors, such as Carlo Cipolla, see in this chapel the remains of a 13th-century building that had nothing to do with the present structure, but which, for unknown reasons, had to be preserved: the former church of Santa Anastasia, a position not supported by any historical or architectural evidence. In addition to Gianesello's tomb, the chapel also contains the remains of Francesco Pellegrini, who oversaw its restoration in 1484. is in the Gothic style. On the base there is a
bas-relief carved with eight apostles. The wooden crucifix, hence the chapel's name, is a 15th-century work, The
baptismal font is made of
red Verona marble. at the behest of Cosimo Centrego, The altarpiece,
the Madonna with Child, St. Thomas Aquinas, St. Augustine and the donors Cosimo Centrego and Orsolina Cipolla, was painted in 1502 The altarpiece is set in a
semicircular arch bordered by pairs of columns set on a pillar.
Left aisle Listed below are the altars and chapels located on the left aisle, from the entrance to the apsidal area.
Boldieri Chapel (19) The Boldieri Chapel, also known as the "Altar of St. Peter the Martyr", dates back to the mid-15th century and is the first chapel encountered on the left side of the nave when entering from the main entrance. It was built at the behest of the nobleman Gerardo Boldieri, belonging to the Contrada of Santa Maria in Chiavica, who ordered that he be buried here. His ark was placed to the left of the altar. Below the cenotaph there is a plaque with an epigraph. The chapel has a large niche surrounded by a triumphal arch and richly decorated pilasters. Inside the large niche there is an altar from the 17th century, surmounted by an
altarpiece in two orders; in the lower one, from the left, there are the statues of
St. Sebastian,
St. Peter the Martyr and
St. Roch, while in the upper one there is the
Madonna with Child. On both sides of the pilasters there are six other niches (three on each side) with statues of saints: on the right, from below,
St. Vincent,
St. John the Baptist,
St. Christopher, while on the left,
St. Dominic,
St. Francis and
St. Anthony the Abbot. Above the chapel is an
entablature decorated with a
frieze on which are placed three other statues: on the sides are two angels holding a shield and in the center a wooden crucifix with
Our Lady and
St. John, this time drawn, on the sides, all surmounted by a baldachin, also painted. In the conch there is a fresco of the
Coronation of the Virgin.
Faella Altar (18) Built in 1520 at the behest of Bonsignorio Faella, it was originally dedicated to St. George, while today the titular saint is
Erasmus of Formia, a fourth-century Christian martyr. The material of construction is marble, mostly white, but with red and black inserts. On the
architrave is carved in Roman characters the following inscription in two lines: "DIVO HERASMO BONSIGNORIUS FAELLA ET GEORGIVS || NEPOS EX FRATRVM TEST ET SVA PECVNIA P". On the
friezes of the pillars (half on the left, half on the right) there is another inscription, from which it is possible to determine the year in which the altar was built: "AERE SVO MDXX. || BONSIGMORIVS". On the
dados of the pedestals of the outer columns were carved the coats of arms of the noble Faella family, together with their own motto "
incertum certius" ("nothing is more certain than the uncertain"). The remarkable altarpiece, painted by
Nicolò Giolfino, depicts the
Redeemer between Saints George and Erasmus,
Altar of Saint Raymond of Penyafort (17) The altar, formerly dedicated to
St. Vincent of Saragossa, was later dedicated to
St. Raymond of Penyafort, a Dominican saint. The altarpiece placed here was begun by
Felice Brusasorzi and then completed by his pupil
Alessandro Turchi; the two painters depicted the
Virgin with Saints Philip, James, Francis and Raymond. To the right of the altar, in front of the Miniscalchi altar, is the tomb of the mathematician
Pietro Cossali, designed by Giuseppe Barbieri and made by the sculptor Antonio Spazzi. On the left, also set into the wall, is the tomb of the Veronese physician
Leonardo Targa, also sculpted by Antonio Spazzi and designed by Luigi Trezza. The altarpiece, depicting the
Descent of the Holy Spirit, is by
Nicolò Giolfino, who signed and dated it in 1518. In the
predella there is a painting of the
Sermon of St. Vincent Ferrer, also by Giolfino, while the
semi-dome, where a Pentecost is depicted, is the work of
Francesco Morone with the help of
Paolo Morando (the latter also known as "
Il Cavazzola"). On the left is the tomb of Zanino Miniscalchi, progenitor of the Veronese branch of the family; the inscription is in Gothic characters and is placed under the family coat of arms. On the sides, between small columns with
Corinthian capitals, are six niches (three on each side), each containing a statue of
Saint Sebastian,
Saint Francis,
Saint John the Baptist,
Saint Jerome,
Saint Vincent Ferrer, and
Saint John the Evangelist. Above, two side
aedicules house statues of
Saints Peter and Paul, while in the central
gabled one is a
blessing Christ. Before the floor was built, there was a chapel dedicated to the Holy Trinity. In the
Liber Possessionum there is a record of a donation made "
pro dote altaris Trinitatis". The name derives from the foundation of the "Society of the Rosary", a congregation created for the very purpose of honoring the victory, which undertook to build the chapel. According to the inscription on the inner façade of the doorway, the work on the chapel was completed in 1596 as far as the walls were concerned, while the completion of the marble covering had to wait until 1607. The project is attributed to the architect Domenico Curtoni, nephew and pupil of the Veronese architect
Michele Sanmicheli, who conceived the work in the typical style of the 16th century with some
Baroque additions, although the intervention of other designers has been proposed. The Virgin in the center probably represents the first example of the diffusion of this subject also in Venetian lands, here depicted not in the more modest and "domestic" version typical of its introducer
Simone Martini and his followers, but in that of the "majestic woman" first experimented by
Bartolomeo da Camogli: although
lactans and seated on the ground, she actually appears surrounded by angels in gilded monochrome, standing out against the red background. On the left wall of the chapel is an
oil on canvas from the first half of the 17th century depicting
Christ Praying in the Garden by Pietro Bernardi. On the right wall is
The Flagellation of Christ, painted in 1619 by
Claudio Ridolfi. The altar is made up of two groups formed by four composite columns, on which a
tabernacle is placed. The
lunette of the altar is decorated with the
Coronation of the Virgin by Marcantonio Vassetti. On the pendentives, Giovan Battista Rossi created the
Deposition in the 18th century, while the
Annunciation and the Adoration of the Shepherds are attributed to
Dario Pozzo and
Biagio Falcieri, respectively. The
dome is decorated with paintings by
Marcantonio Bassetti depicting the
Assumption and the Trinity.
Giusti Chapel and sacristy (13) On the left wall of the transept is the door to the
sacristy, built in 1453 by the Giusti family to house their funerary chapel, which was placed at the back of the room. Before entering it, on the wall inside the church, one can see frescoes attributed to Boninsegna and three canvases depicting
St. Cecilia,
the Miracle of St. Hyacinth and the Deposition and
St. Paul, St. Dionysius, Magdalene and devotees by
Turchi,
Farinati and
Morone, respectively. Also on the door is a large painting depicting the
Council of Trent by
Biagio Falcieri, a 17th-century painter. The chapel and the altar were renovated after more than a century and a half, in 1598, so that nothing remains of the original appearance, but it is known, thanks to the testament of Roberto Giusti of July 15, 1644, that the titular saint was
Saint Vincent Ferrer from the beginning. On the frontispiece of the altar there is a brief dedicatory inscription: "DEO || B. MARIÆ VIR || AC VINCENTIO". A large plaque on the wall to the right of the entrance commemorates the reconstruction of 1598. The altarpiece was made by
Felice Brusasorzi and depicts several saints with the Virgin and St. Vincent. On the floor, in the center of the chapel, is a triple tomb from the sixteenth century, in which each of the three stones is adorned with the Giusti family coat of arms, which also appears, painted or carved, in many other places in the sacristy. In the center of the sacristy there is another tomb dating back to 1793. The two large stained glass windows, still well preserved thanks to a restoration in 1969, are of great value, being dated around 1460, making them the oldest found in Verona, characterized by the colors white, green and red, with simple ornamentation and without figures. == See also ==