The Churches of Verona

Duomo Santa Maria Matricolare/Assunta Piazza Duomo
*This church has its own page*
Padre Filippini San Fermo Minore di Brà Via Filippini
History Dedicated to the Saints Fermo and Rustico. Built from 1746, to designs by Andrea Camerata, by the Oratorians, who had found their previous church, San Fermo Minore, to be becoming too small. Finished by 1791 and decorated with works from the destroyed San Fermo Minore. The church was heavily damaged during the Second World War and subsequently rebuilt.
San Benedetto al Monte Vicolo Monte
History Founded by Benedictines from Leno Abbey near Brescia around the end of the 10th century. The crypt is all that survives of this original building, built up against the foundation of the Roman Capitol, with 9th-century columns and capitals. This church had three levels, the highest was the monastic church with stairs down to the level for the laity with access from the churchyard, the lowest the crypt. The church was rebuilt in Romanesque style in the 12th century, probably following the earthquake of 1117. From 1615 to 1617 there was further major rebuilding, during which the pavement of the plebeian church was raised to that of the monastic level and the church acquired its current appearance. In 1777/8 the high altar and its statue of Saint Benedict were renovated, as was the presbytery in 1853. The name "Monte" is derived from the Monte di Pietà opposite the church, a Franciscan charitable organisation. San Benedetto became a parish church in 1336 but was suppressed by Napoleon in 1805. Between 2015 and 2017 the crypt underwent archaeological investigations and restoration, with one of the two staircases restored to provide access to the crypt from the church. There are fresco traces. Interior The aisleless nave precedes a raised presbytery, all covered by a barrel vault. In the apse is an altarpiece by Jacopo Ligozzi of The Trinity with Saints Charles Borromeo and Homobonus and fragments of fresco by the workshop of Giovanni Badile. The nave has one altar each side. Opening times Daily 9.00 - 12.00 A video and visit to the crypt is advertised as taking place on Sundays at 3.30.
San Bernardino Stradone Antonio Provolo
This church has its own page
San Domenico Via del Pontiere
History A church and monastery was built here on land bought in 1517 for Dominican nuns whose complex outside Verona, San Domenico dell'Acqua Traversa, had been demolished because the Republic of Venice's insistence on the clearing of land a mile around the city walls for ease of defence. The major work took place between 1537 and 1543. The nuns moved in in 1543 and the church was consecrated on November 11th 1554 by the bishop of Verona Luigi Lippomano. The church was rebuilt at the turn of the 17th and 18th centuries with the loss of the 16th century fittings. Suppressed by Napoleon in 1811 the complex passed into private hands. Initially bought by Domenico Maboni, it was later, between 1827 and 1831, bought from him by Leopoldina Naudet, founder of the congregation of the Sisters of the Holy Family. It then passed to the Municipality of Verona who split it up and put it to various uses including a technical institute, the HQ of the fire brigade first, and then of the police. The complex suffered significant damage during World War II with only the church and cloister remaining. The church looks pretty derelict but has been used by Evangelical Lutherans since October 3rd 2010. The church seems to have recently become known as San Domenico al Corso and put to cultural uses. Exterior The grand stone portal to the street was built during the 17th/18th century renovations. The statue in the niche is Saint Dominic by Orazio Marinati. Interior Very baroque and colourful, with much painting and marble. Altars built by Francesco Marchesini during the same rebuilding work. The vault frescoes feature Dominican subjects by Francesco Marchesini's son, Alessandro, centred on The Glory of Saint Domenic, with trompe l'oeil architecture by Antonio Zanoni. Other artists with work here include the French painter Ludovico Dorigny, Sante Prunati and his son Michelangelo, Simone Brentana and Odoardo Perini. Lost art The Castelvecchio's justly famous and luminous Virgin and Child with Saint Catherine, called the Madonna of the Rose Garden (see right) of c.1420–1435, which has been attributed most recently to Michelino da Besozzo and previously to Stefano da Verona. Crowe and Cavalcaselle (in A History of Painting in North Italy) thought that it was by Pisanello. But it should be noted that the painting includes a peacock which was, according to Vasari, Stefano da Verona's hallmark (contrassegno). The Miracle of San Domenico (The Healing of Napoleon Orsini Fallen from his horse) by Antonio Balestra is also now in the Castelvecchio Museum. Opening times A fresh sign with the name and logo of the Sorelle della Sacra Famiglia on it says Monday, Wednesday and Friday 8.30-1.30 But this was on San Domenico's Facebook page which hasn't been updated since December 2021, so caution is advised.		Interior photo from wikipedia by Stefania Garonzi
San Fermo San Fermo Maggiore Via Dogana
*This church has its own page*
San Giacomo alla Pigna Via San Giacomo alla Pigna
Lost art A triptych showing the Virgin and Child Enthroned flanked by Saints Peter and James by the studio of Antonio Badille II, once over the high altar here, is in the Castelvecchio, where it's been since 1812. As has a Virgin and Child with Saints Roch and Sebastian by Girolamo Dai Libri, called The Mafffei Madonna.
San Giorgio in Braida Piazzetta San Giorgio
History A church was first built here in the late 8th century, in a field by the walls, hence Braida from the Germanic breit meaning a large clearing. The current church was built from 1477 to designs by Antonio Ricci. This building was begun by wealthy Venetian monks, the Canons Regular from San Giorgio in Alga, who acquired the monastery complex from the Benedictines in 1442. In the mid-16th-century the Venetian mannerist architect Michele Sanmicheli added a rare-for-Verona dome. He also designed the campanile, actually executed by Bernardino Brugnoli, who never finished it, and the gate. The facade was begun later in the 16th century but only finished in the 17th, with the statues of the Saints George and Lorenzo Giustiniani added in the 18th century. Interior A somewhat stern and bare aisleless nave with four deepish chapels each side and a dome over the crossing, all the work of Sanmicheli from 1536-43. An organ and choir gallery take the place of transept arms, both supported by four columns. The deep apse has Paolo Veronese's fine much-removed, -damaged and -restored Martyrdom of Saint George over the high altar, painted in 1566, the same year that he was in Verona to marry Elena Badile. The altar itself was designed by Bernardino Brugnoli, a nephew of Sanmicheli, although some sources attribute it to Sanmicheli himself. On the left of the apse is Manna by Felice Brusasorci, on the right The Multiplication of the Loaves is a late work by by Paolo Farinati. Both are a bit forgettable and were completed by the pupils Alessandro Turchi and Pasquale Ottino. Either side of the arch is a pair of canvases, once organ shutters, of the Annunciation by Giovanni Caroto from c.1508, he being the younger brother of the more famous Giovan Francesco. Some very fine altarpieces in the nave, though, once admired by Goethe and lit by red buttons by the label stands. The first chapel on the left has Saint Ursula and the 11 Thousand Virgins (1545) by Giovan Francesco Caroto, the second has a Martyrdom of Saint Lawrence (1583) by Sigismono de Stefani. The polyptych in the third (see right) is from c.1510/15 with admirable paintings of the plague saints Roch and Sebastian by Giovan Battista Caroto. The soppy central panel of Saint Joseph and the Christ Child (1882) is by someone named Recchia and covers a fresco of the 14th century of Christ Carrying the Cross which was said to have miraculous powers but had become damaged. There's a crowning lunette panel of The Transfiguration and a large later (1545) oval painting of Apostles Trying to Exorcise a Demon from a Possessed Boy by Domenico Brusasorci, a pupil of Caroto. The wide predella panels, by Caroto, depict The Agony in the Garden, The Deposition and The Resurrection, with the pilasters between these panels having figures important to the Canons Regular. A highlight is the Virgin and Child Enthroned between Saints Zeno and Lorenzo Giustiniani of 1526 in the next one (also known as the Madonna della Cintura) (see below right), by Girolamo dai Libri, which is decidedly Bellini-ish with another Domenico Brusasorci lunette above, this time of God the Father. Above the main door is a an unusually simple and orangey Baptism of Christ by Tintoretto. There's also a Pentecost by Domenico Tintoretto, his son, over the third altar on the right. A Virgin with the Three Archangels and Tobias by Felice Brusasorci is in the next one. Lost art An enormous stage-set-like Crucifixion of 1501 painted for the refectory here by Michele da Verona is now in the Brera. The coat of arms at upper right suggests that it was commissioned by Niccolò Orsini. A smaller version, dated 28th March 1505, was painted for the church of Santa Maria in Vanzo in Verona, both being commissioned by the Secular Canons of the Blessed Lorenzo Giustiniani. Paolo Veronese’s Miracle of Saint Barnabas is a rare depiction of a narrative of this apostle, showing him healing the sick in Cyprus by touching them with a book of the Gospel of Saint Matthew. This altarpiece was looted from this church by the French in 1797, as was his Martyrdom of Saint George. The Saint George was returned in 1815 but Saint Barnabas was not and is now in a gallery in Rouen. There's a copy here under the choir gallery. Nearby shrapnel The 1791 rectory attached to the church still has bullet holes from October 1805 from the fighting between the French and Austrian troops occupying opposite banks of the Adige. Opening times A group called Verona Minor Hierusalem staffs touristic visit times for this church, and four more nearby. The times they publicise for this church are Thursday, Friday, Saturday 10.00 - 5.30 Sunday 1.00 - 5.30 I assume that the church will be open at other times too.
The church in the 19th century.
San Giovanni in Foro Corso Porta Borsari
History Originally built on the main Roman road, now the Corso Porta Borsari, opposite the Forum, hence in Foro. The first written evidence of the church dates from 959. This church was heavily damaged during the fire of 1172 and rebuilt in Romanesque style. During restoration work on the campanile in 1902 charred remains of crenulations and arrow slits were found, suggesting that the tower had been converted from an older defensive tower. A few years later plaster falling from the outside walls revealed the brick and pebble banding and later removal of interior plaster revealed 14th century frescoes. San Giovanni served as a parish church during the medieval period. Exterior The renaissance doorway bears the name of the donor, Benedetto Rizoni, a prelate and commentator on the scriptures, and his arms, featuring a hedgehog rampant. It is topped by sculpted figures by Girolamo Giolfino of Saints John the Evangelist (in the centre), Peter, and John the Baptist/Paul? to left and right. The fresco in the lunette of St John the Evangelist on Patmos is by Nicolò Giolfino, Girolamo's nephew. Between the two large windows in a square niche is a very weathered fresco of The Deposition by Domenico Brusasorci. Interior An aisleless space with a timber roof and two chapels on the left. In decoration one is very modern, but with an impressive timber coffered ceiling, and one is very baroque. Opposite then there is a miniscule crib made by the soldiers here during Christmas 1917 when the church was being used as a military hospital. Over the high altar the Crucifixion by an 18th century artist called Giovan Battista Rossi (called Gobbino) features the Virgin, St. John the Evangelist, St. Dominic of Padua (probably added posthumously) and a weeping figure thought to be the commissioner of the work. Frescoes either side depict the prophets Isaiah (left) and Jeremiah. The interior has undergone much baroque-era and later renovation. Four red marble columns support a women's gallery at the back, now bricked up, but hung with paintings by Antonio Giarola (The Virgin and Child with Saints Sebastian and John the Evangelist, in the centre) and Claudio Ridolfi (The Virgin and Child and The Guardian Angel, to either side). Frescoes include a very pale and damaged 14th century Virgin Lactans with Saints John the Baptist and John the Evangelist. On the left wall between the chapels is a Virgin and Child sculpture of the 13th century signed by Maestro Pulia, court artist and sculptor to the Scala family. Opening times Daily 9.30-12.00 & 3.00-7.00 A group called Verona Minor Hierusalem staffs touristic visit times for this church, and more nearby. The times they publicise for this church are Saturday 10.00 - 5.30

San Giovanni in Valle Via San Giovanni in Valle
History Founded in the 8th century, with some conjecture taking the date of building back to the 4th century, the original church was built on the site of an ancient pagan cemetery and a Roman temple. Remains of this first church survive as part of the current crypt. Rebuilding after destruction during the 1117 earthquake resulted it the current Romanesque church, consecrated by Ognibene, the bishop of Verona, in 1164. The façade was originally where the first pair of pilasters are now, but it was rebuilt one bay to the west. as can be seen by the wall surface, in the 14th century, after the Council of Trent, to make an area for the unbaptised. Badly bombed in 1944, on the night of the 10th of October, damaging the church's 13th and 14th century frescos and killing and injuring people sheltering in the crypt. Restoration work followed, with the opportunity taken to restore the small windows in Romanesque style and remove the larger 17th century windows. The 15th century front doorway and porch has The Virgin and Child with Saints Bartholomew and Anthony Abbot, a fresco by Stefano da Zevio in the lunette. Interior A long tall narrow nave on two levels with two aisles divided by slim marble columns alternating with stout pilasters. The floor is 19th century. The raised presbytery sits over the crypt and originally had no staircases, being a separate area for the high timber ceiling with a considerable exposed brick and a pale stone. A clerestory level with three small windows one side and some fresco bits on the other. Later decoration in the last two pairs of arches before altar. Layers of early fresco which evidently appeared from under whitewash in late 19th/early 20th century on the right wall of the raised presbytery area, the oldest looking very Byzantine (see photo below). The walls here would have once been entirely covered in frescoes. The crypt To be found under the raised presbytery. The remains of the 9th century church are towards the front, with the rear in Romanesque style and dating to the 12th. Damaged frescoes on the right wall. The polychrome marble altar is 16th-century. Also down here are a pair of early Christian sarcophagi, probably from the cemetery the church was built upon. The one on the left (see photo right) is 4th century and said to contain the relics of Saints Jude and Simon and has carved reliefs on three sides with stories from the Old and New Testaments, in the upper and lower registers respectively. The lid, sloping with Saints Simon and Judas depicted is not original but was installed in 1395 with the claimed discovery of the relics of the two saints. The other is 2nd or 3rd century, may be Roman, and has busts of a husband and wife in a shell in the centre as well as figures of philosophers at the corners later transformed into Saints Peter and Paul. Fragmentary frescos in the chapels down here too. Campanile Romanesque below, with Roman stones used, and renaissance above, with mullioned windows. Five bells by Cavadini from the 19th century. Cloister Romanesque. Only one wing remains (see photo below) with the rectory in the courtyard, also very old, probably contemporary with the church. Local artist The first record of the life of Liberale da Verona is in the census of 1455 for the neighbourhood of this church. Opening times A group called Verona Minor Hierusalem staffs touristic visit times for this church, and four more nearby. The times they publicise for this church are Thursday, Friday, Saturday 10.00 - 5.30 Sunday 12.00 - 5.30 These are the Visite Turistiche times posted on an A4 sheet just inside the gate too.		The apse end showing remains of the old church around the base. The one on the right with the pilasters is reckoned to be the oldest, by a few years.
San Girolamo
History In the Roman Theatre complex, now part of the Archaeological Museum, along with the complex's refectory (where fragments of fresco remain) and cloisters. built by the Jesuits in 1492. Following a series of sales, the building came to one Giovanni Bertani, who rebuilt it in 1838 in its present form. Interior A small church with a ceiling of painted wooden panels, now used to display patches of mosaic flooring as part of the Museo Archeologico al Teatro Romano. Art The Annunciation fresco over the apse arch is an early work by Giovan Francesco Caroto, signed and dated 1508. They were painted after he had spent some time in Milan, which may explain the Leonardo look to them. In the underside of the apse arch, frescoed 1465 under Domenico Morone's direction, the Four Evangelists are 'obviously by the hand of Liberale da Verona' Inside the apse are four lunettes and a window - Christ is flanked by Saint Peter and Saint Paul, and to the right is Saint Jerome. Over the altar is a panel depicting Saint Jerome of 1578 by Paolo Farinati.
San Lorenzo Corso Cavour
History The original Roman basilica on this site (supposedly dedicated to Venus) was built in the 5th century and restored in the late 8th. The current church was built around 1110, and it is suggested that Lanfranc of Modena, the architect credited with that city's famed cathedral, was responsible. There was more work after 1117, after the earthquake, and considerably enlargement shortly after that. The pre- and post-earthquake phases are visible on the outside as the alternating bands of pebbles with brick and stone in the lower level give way to just bricks and stone above the lower windows. Extensive restoration in 1877 to return it to its former glory. Exterior From the street you get to the church through a 15th century archway, with a statue of Saint Lawrence above, clutching his gridiron attribute, into a small courtyard containing decorative fragments from the original early Christian basilica. The church's exterior has the characteristic Veronese Romanesque banding of brick and tufa. The porch and the campanile also date to the late 15th century. The pair of cylindrical towers either side of the (somewhat hemmed in) façade contain spiral staircases used to access the matronea, or women's gallery. Interior An atmospheric and impressive Romanesque interior, very tall with four very stout cruciform piers alternating with four unmatching marble columns which divide the the tall aisles from the looming nave with a wooden roof. There's a simple semi-circular apse and galleries for women (which were divided into separate spaces for virgins, widows and matrons) around the sides and back, with chapels where the transept arms would be and larger gallery spaces above them. Open chapels on either side of the apse with some of the church's characteristic small and sparse 13th century fresco fragments. Art highlights Above the high altar - a Virgin and Child with Saints John the Baptist, Lawrence and Augustine (see left) by Domenico Brusasorci of 1566. Campanile Romanesque, built in 1486. Opening times Weekdays 9.00 - 12.00, 3.00-5.00 Sundays and holidays 3.00 - 6.00 A group called Verona Minor Hierusalem staffs touristic visit times for this church, and four more nearby. The times they publicise for this church are Saturday 10.00 - 5.30

San Luca Corso Porta Nuova
History The original church on this site was built in 1172 by the Cavalieri Crociferi (Knights of the Crucifix). This Order was abolished in 1656 by Pope Alexander III. In March 1657 the church passed to the Compagnia del Santissimo Sacramento (Society of the Most Holy Sacrament). Major rebuilding followed - the façade in1675 and the high altar in 1691. Expansion from 1753 to reconsecration in 1755. The Compagnia were suppressed by Napoleon in 1807 and in 1808 San Luca became a parish church, appointing San Silvestro and Ognissanti. More work in the 19th century, as a result of road widening, in 1874, the altar dedicated to Saint Luke was demolished . Only the exterior right side of the church is now visible, due to building around the church. Art Mostly 18th century and later but there's an unusual large frescoed chapel dedicated to The Fallen on the left. Campanile Dates to 1760, new bells installed in the 19th century. Opening times Daily 8.00 - 5.00
San Matteo Concortine Vicolo San Matteo
History A church, built over a temple to the Roman god Giano (Janus), was first mentioned in a document of 1105 when part of the church was given to the abbey of Pomposa. Restoration work in the 18th century was followed by suppression in 1860. Used during the WW2 as a military warehouse, laundry and later as a carpenters' workshop. Now a pizza restaurant. Through a glass panel in the floor the remains of the ancient temple of Janus can still be seen. Lost art A panel depicting the Mystic Marriage of Saint Catherine by the Studio of Antonio Badile II and a Virgin and Child in Glory with Saints Matthew and Jerome and a donor, called the Madonna de' Caliari, by Nicola Giolfino (see right), from c. 1530, have both been in the Castelvecchio since 1812. The latter was the high altarpiece and features Jerome in his anachronistic cardinal's red robes and hat, not instigated until 700 years after his death.
San Nicolò San Nicolò all'Arena Piazza San Nicolò
History Large and baroque and built from 1627 to plans by Lelio Pellesina on the site of a previous Romanesque church dedicated to the same saint from at least as early as the 12th century and called San Nicholai de Buchadarena. All that remains of the old church is the crypt under the apse. It is said to have been a parish church by 1336, but was acquired by the Theatines in 1598, who had resided in the convent of Santa Maria della Ghiara since 1591. A new church and convent was built for the order with work beginning on 21st March 1627, to designs by Lellio Pellesina, initially involving enlarging the already-existing church and changing its orientation. It progressed slowly for the next two years when work stopped due the plague of 1630. Work resumed later, with new funds leading to the completion of two side chapels and the sacristy. But funds ran out before the dome, campanile and facade were built. The interior decoration was finished and on 27th May 1697 Bishop Pietro Leoni consecrated the church. With the Napoleonic suppressions of 1806 the order was ejected and the church returned to parish use. The convent complex housed a barracks and then a school. Exterior The church's façade remained incomplete until an 18th century neo-classical facade was grafted on in 1951 by Pietro Gazzola. It was taken from the church of San Sebastiano, which was all but destroyed by bombing during WW2 and which stood where the unlovable late-1970s Biblioteca Civica (city library) by Pier Luigi Nervi now stands. Interior A pleasingly proportioned and airy space - low-key Baroque with no aisles but four domed chapels, a deep presbytery and a transept topped by a trompe l'oeil dome, as the planned dome never built. The Baroque high altar was built by the Theatine architect and philosopher Guarino Guarini after the plague of 1630. Tasteful modern stained glass, but no great art, by the 17th century likes of Antonio Balestra (Saint John the Baptist in the Desert, first chapel on right), Mattia Preti (Saints Gaetano (the founder of the Theatines) and Andrew Avellino (a later Theatine Saint) second chapel on left) and Alessandro Turchi (also known as Orbetto) (Annunciation with Saints Joseph, John the Baptist and the blessed Marinoni (the last is a local Theatine almost-saint of the 16th century and spiritual advisor to the aforementioned Andrew Avellino) on the right in the chancel). Lost art Seven fresco fragments from the monastery here, by Nicola Giolfino, showing female allegorical figures, have been in the Castelvecchio since their removal in 1873. Opening times Daily 7.00 - 5.30 (closed Tuesday afternoon) The church of San Sebastiano in 1946 before its façade was removed and attached to San Nicolò.
Church of the Stigmata Via Carlo Montanari
History In 1816, following suppression by Napoleon, the complex (including the old church of San Francesco) was taken over by Gaspar Bertoni, a local priest and (later) saint who was baptised in San Paolo in Campo Marzio (see the entry below). He established a school here and later founded the Congregation of the Sacred Stigmata, later known as the Stigmatines. Interior Short but wide with two pairs of chunky columns dividing the nave from the wide aisles. A nicely-done painted ceiling. Gymnastics in the Stadium Comunale 1931.
San Paolo in Campo Marzio Via dell'Artigliere
History A Romanesque church dedicated to Saints Peter and Paul was built here in the late 11th century. In 1183 rebuilding began, probably due to damage sustained during the earthquake of January 3, 1117. Run by secular priests until 1232 when it passed to the Order of the Umiliati. More work in 1289, when the Umiliati are thought to have left, during which a campanile was built. Count Alessandro Pompei, an architect and scholar of ancient Veronese art, directed later rebuilding between 1740 and 1768. Gaspar Bertoni was baptised here on October 10th 1777 - he went on to found the Congregation of the Sacred Stigmata (Stigmatines) in Verona (see the entry above) and was canonised in 1989. There is a plaque in the baptistery here celebrating his 200th birthday. On January 4 1945 allied bombing gutted the church, but the most important works of art were saved by having been removed and placed in shelters. The church was rebuilt by 1950, recreating the style of the 18th century rebuilding. Interior Wide, pale and boxy inside - even the square chancel has a flat back. A single nave with three altars either side of the nave of varying depth. Of the transept chapels the one on the right, the Marogna, built for Antonio and Giovanni Battista Morogna and dated 1565, has the Virgin and Child and Saints John the Baptist and Anthony and Donors by Paolo Veronese (see right). Veronese was born in the parish of San Paolo in Campo Marzio, where many painters - the dai Libri, Cavazzola and Farinati - also lived. The chapel also has some so-so frescoes, illustrating the stories of Jonah and Elijah on the walls and angels on the ceiling, by Paolo Farinati, a friend of Veronese who was best man at his wedding and is buried in this church. In the left transept chapel is an impressive San Francesco di Paola by Domenico Brusasorci, part of a triptych, the rest of which is lost. On the flat back of the chancel is a Virgin and Child Enthroned with Saints Peter and Paul (1515) by Giovanni Caroto (the younger brother of the more famous Giovan Francesco) with the figures in a very steeply illusionistic portico. Otherwise the chancel just contains a modern altar and two 20th-century paintings. The sacristy has a Virgin with Saints Anthony and Mary Magdalene by Francesco Bonsignori. The central right-hand chapel has a likable family group of the Virgin and Child with Saints Anne, Joseph and Joachim by Girolamo dai Libri, called the Giuliari Altarpiece. Two members of the commissioning Baughi family are in the foreground gazing up. It has the artist's characteristic branches of lemons, the lemon being symbolic of fidelity and hence, we're told, of the Virgin Mary. The middle chapel on the left has a darkened 1588 Virgin and Child and Saints Nicholas of Bari and Francis by the already-mentioned Paolo Farinati. On the right wall of the next chapel along is a somewhat flat and precise copy of Farinati's Deposition by his son Orazio. Lost art A Virgin and Child with Saints Anthony Abbot and Mary Magdalene, probably by Francesco Bonsignori, is now in the Castelvecchio. Opening times Monday - Friday 8.00 - 11.30, 4.00 - 7.00 Saturday 8.00 - 7.00 Sunday 8.00 - 12.00 A group called Verona Minor Hierusalem staffs touristic visit times for this church, and four more nearby. The times they publicise for this church are Saturday 10.00 - 5.30
San Pietro in Monastero Via Giuseppe Garibaldi		San Pietro Incarnario Piazzetta San Pietro Incarnario
History Was a Benedictine church in 1147. Had/has an Annunciation by Paulo Farinati. Deconsecrated and currently used for art exhibitions. Opening times Wednesday to Sunday 10.00 - 1.00, 3.00 - 7.00 But this may be reliant on an exhibition being on.		History Founded in the 10th century on the site of a plague pit, hence carnario, by the Marchese Milone, in an area then on the outskirts of the city. The first documented mention is in Milone's will, dated 10th of July 955. Several rebuildings, the last in the 18th century. Following bomb damage during WWII the facade was rebuilt further into the church and two of its six side chapels (damaged by the bombing) were thereby lost. Now used by a Romanian Orthodox congregation. Interior Today it's an aisleless box. The crypt contains remains of the earlier church, including a fresco of the Crucifixion which may date (experts argue) from the 10th or 11th (or 13th) century. Works by Brusasorci? Campanile 14th century
San Pietro Martire San Giorgetto Via Abramo Massalongo
History Built before 1283, a frescoed inscription above the entrance records consecration in 1354. It was given as a church and mausoleum to Teutonic Knights who had the year before helped Cangrande II della Scala defeat a plot to overthrow him lead by his half-brother Fregno. The dedication to Saint George was changed to Saint Peter Martyr in 1424 when the church was given to the Dominicans, but locals are still said to call it San Giorgetto. French occupation left its marks with burn patches and bullet holes but the building was returned to the Franciscans until 1806, when it became the oratory of the Royal Lycée and Boarding School established in the convent of Saint Anastasia. It was at this time that a coat of lime was applied over the frescoes, with the still-visible chisel marks made to make it stick. In 1875 the frescoes were discovered and restored, but the the restoration practices of the period resulted in further losses to the paint surface. In the early 20th century it fell out of use and remained closed until the mid-1970s when the city government intervened to repair damage from damp. In 1994 restoration of the frescoes was undertaken, and between 2004 and 2009, with the help of Legambiente, whose volunteers staff the open days. Exterior There's a funeral monument of Bavarino de' Crescenzi (1346) on the facade, and Gugliemo di Castelbarco's funerary tomb, considered the prototype of the Scaliger tombs, is on top of the arch between the church and Santa Anastasia. Interior A single nave with 14th and early-16th century frescos. The Teutonic Knights commissioned most of the frescoes in the late 14th century. The three walls in the nave consist of a row of vegetable motifs, under which is a row of coats of arms of the knights. The larger funerary panels below represent the dead knights with saints. 15th century votive panels of the 15th commissioned by the Lay Brotherhood of Saint Peter portraying their patron. The first of these on the right-hand wall, nearest the presbytery, is by Giovanni Badile, the larger one to its right, past the plaque, is by Turone di Maxio. The back wall has two of the earlier funerary scenes with knights, by Bartolomeo Badile, to the left of the door. To the right of the door is an anonymous funerary scene and one of the later a Saint Peter panels, by Giovanni Badile (c.1424). On the left hand wall there are two funerary panels by the Second Master of San Zeno, them, after the first door a throne and coat of arms fragment by Giovanni Badile (c1438). After the second door are a Virgin and Child Enthroned with Saint John the Evangelist by Turone di Maxio (1345/75) and Saint Peter Martyr by Giovanni Badile (c.1437) (see right). In the presbytery (see below) - a 1354 Crucifixion by the Second Master of San Zeno. Above is an allegory of The Annunciation by Falconett0 of 1509-15, commissioned by Hans Weineck and Kasper Künigl (both portrayed in the fresco) two advisors to the Habsburg Emperor Maximilian I. Lost art Signed by Giovanni Badile, the Virgin & Child with Saints Anthony, George, James, Peter Martyr, Zeno and Mammas, known as The Aquila Polyptych (see right) went to the Castelvecchio in 1812. It is known as the Aquila Polyptych because of a black eagle in a gold frame which used to to be on the frame. It may previously have been in Sant'Anastasia.
San Pietro Martire Via Sant'Alessio
History Bishop Sebastian Pisani on April 28, 1656 blessed the first stone of the church of San Pietro Martire, erected on the ruins of named saint's birthplace A group called Verona Minor Hierusalem now staffs touristic visit times for five churches near this one, with this church being used as their HQ, as you can see in the photo right. Opening times The HQ is advertised as open Thursday to Sunday 9.30 - 6.00 but I advise trying on a Saturday, when I was lucky, as it's their major staffing day, and they seem to be volunteers.
San Silvestro Vicolo San Silvestro
History The original church here was built in the mid-12th century in Romanesque style, with a nave and two aisles. The church and monastery passed to the Benedictines in 1523. Rebuilding between 1540 and 1557 and again in the 1720s, by Lodovico Perini. This last rebuilding formed the interior which has survived, with a single nave. The church and attached Benedictine monastery were suppressed on July 28, 1806, and set for demolition and/or use as a military warehouse. Knocked about by later restorations and bombing, the church is now deconsecrated, was used for art exhibitions for a while, but is now a bank. The adjoining monastery is now luxury apartments. Lost art The Virgin of the Cherubim (Madonna dei Cherubini) of 1487 (see below) by Antonio Badile II and a 15th-century Crucifix with Saints Peter and Paul, both in the Castelvecchio.
San Tomaso Cantuariense San Tomaso Becket Stradone San Tomaso
History The present church was built in the 15th century by Carmelites to replace two earlier churches, one dedicated to Saint Thomas Becket (consecrated May 22 1316), the other to the Annunciation (consecrated in 1351). This new church was itself consecrated on September 22nd 1504. At this time the altar was also rebuilt. It is said to have housed not only the relics of Veronese saints like St. Ursula, St. Martin and St. Benigno but also the skull of St. Thomas Becket (or three teeth and the frontal bone as is elsewhere claimed). The church also contains the tomb of Giovan Battista Beket Fabriano, who claimed kinship with the saint. The chancel is all that was achieved of a reworking of the interior to designs by Michele Sammicheli (1545-1550). He died before the work could be completed and is buried here. A set of his drawings for a later phase mysteriously disappeared too. At a mass on the Wednesday after Easter in 1572 most of the wall to the right of the high altar collapsed, killing thirteen and wounding many more. The was rebuilding and reconsecration in 1679. In 1708 lightning struck the 15th century campanile which was swiftly rebuilt. In 1796 the church turned into French military hospital by Napoleonic soldiers In 8 June 1805 Napoleon evicted the Carmelites who took refuge in various Venetian monasteries. The convent was used as a barracks and then a military court with prison cells. When the French left the church was reopened for worship after renovation work and the repair of the damage done by the soldiers. The church returned to parish use in 1836 but in 1859 the complex was again deconsecrated and used as a military warehouse for straw and fodder vary, until 1867 when the church was again reopened for worship. Damaged during the flood of 1882 - markers on the wall in the now-enclosed cloister corridor shows the levels reached. Façade The façade remains incomplete. The doorway was transferred here from the church of Santa Maria Mater Domini in Valdonega. Interior A tall aisleless nave with a wooden ceiling painted with trompe l'oeil coffering. Four shallow unmatching chapels each side. The triumphal arch in front of the almost-transept has the Four Evangelists in the dome. Sammicheli's shallow undecorated apse is flanked by two chapels. Along the left wall the first and third altars have works by Paolo Farinati, both depicting the Virgin and Child in Glory with Saints - Antonio and Onofrio (1569) in the first, Alberto and Jerome unframed in the third. Between them Saints Peter, John the Baptist and Paul by Torbido (Francesco Moro). The Bonatti organ of 1716 (at the ends of the almost-transept arms) is known to have been played by the 13 year old Mozart, on the 27th of December 1769. In the apse The Virgin in Glory with St Anne, with Saints John the Baptist, Cyril, Thomas Becket and Alberto below of 1579 by Felice Brusasorci (see left). The chapel to the right has a painted wooden crucifix of the 14th century brought here from the suppressed church of Santa Maria della Disciplina (now the Vittoria cinema). The chapel to the left has, in the lunette above the altarpiece, a damaged painting of The Eternal Father by Antonio Balestra. The right wall's second altar (after the tomb of Michele Sanmicheli) has the striking Ecstasy of Mary Magdalene by Alessandro Turchi (Orbetto) of 1604, the third altar has a pretty baroque Annunciation by Ballestra, recently conserved for an exhibition devoted to the artist at the Castelvecchio in 2016/17 to celebrate his 350th. In the the fourth, dedicated to San Rocco, is the highlight Saints Rocco, Sebastian and Job (all looking very classical and muscular) probably painted at the time of the plague of 1510, by Girolamo dai Libri. All the altars are nicely lit. Cloister Through a door in the right aisle is a now-enclosed cloister with frescoed lunettes (see right), by Bernardino Muttoni, the impressive wall tomb of the Grifalconi family and a small sacristy chapel. Lost art A tomb of the Zanchi family is in the Castelvecchio, as is a Descent from the Cross by Liberale da Verona, a panel from a larger altarpiece. Opening times 8.00-12.00 & 4.00-7.00 A group called Verona Minor Hierusalem staffs touristic visit times for this church, and four more nearby. The times they publicise for this church are Saturday 10.00 - 5.30 Bibliography Luca Fabri Chiesa di San Tomaso Cantuariense Verona 2008 For sale in the church.
San Tomio Via Giuseppe Mazzini
History Said to have been built on the site of a Roman temple. The local guild of cheese makers were patrons. An altarpiece here is said to show San Mammaso, their patron saint, sitting in front of the hut in the forest that he was banished to, surrounded by cheeses, which dairy product he is said to have invented, but I've never been able to find it. Interior Aisleless, restrained baroque with what might be called a depressed barrel-vault ceiling. Three chapels on the right, the two on the left have the side entrance between them. The flat-backed apse has a modern fresco on the back wall, behind a complex high altar. The organ loft on the back wall has a huge canvas above. There are inset painted panels high up nearer the apse, and one lunette shaped in the apse. An excess of confessionals - five - for such a small church. Lost art The Circumcision of Christ by Claudio Ridolfi, is now in Castelvecchio. It is said that the subject matter may have been thought appropriate for a church on the edge of Verona's Jewish ghetto. A polychromed marble sculpture of the Virgin and Child, now in the MET New York. Opening times 9.00-12.00 & 4.00-7.00
San Zeno Piazza San Zeno
*This church has its own page*
San Zeno in Oratorio San Zenetto Via San Zeno in Oratorio
History Built in what was a Roman cemetery area, this church was probably built over a mausoleum - the source of two Roman panels decorated with a Satyr and Cupids, used in the construction and now preserved at the Malkiano Lapidary Museum. The apse has a 1st century AD curved relief inserted upside down in the outside wall. Tradition says that the body of Saint Zeno was first kept in a church outside the Roman city walls. It is unlikely that San Zeno in Oratory was this church, though, since it was prone to flooding due to its proximity to the Adige and would not have been considered safe. There are references to an early medieval church, though, dedicated to San Zeno. Saint Gregory the Great, in his Dialogues, mentions a terrible flood when the water rose to the base of the church windows whilst Zeno was preaching, but miraculously spared the congregation inside (see full quote below). The first single-nave church was probably built in the Romanesque period and then enlarged to a double nave during the 1300s. In the medieval period it was dedicated to San Zeno Orador (Preacher) and kept this name until the late 16th century. The Romanesque structure recognisable in the raised apse-end and arch, with the nave dating from the 1300s. 18th century statues of Saints Zeno and Peter Martyr by Francesco Zorzi are perched on the front wall of the churchyard. Interior Romanesque with a gothic facade. Proportionally wide with three pinkish columns separating each aisle from the nave. A timber roof and pale buff stone walls with exposed brick arches. There are two shallow decorated chapels in the left aisle, one built for a cloth merchant called Melchiorre Bassani in 1482. The apse has traces of a 12th century fresco depicting a crowned woman richly dressed, and a gothic tabernacle in carved relief. The transept chapels shallowly domed with a deep decorated dome in the crossing. Many polychrome statues, including two of Saint Zeno (not looking very African in either) attributed to a sculptor close to the Master of Santa Anastasia (early 14th century) and, at the back, the stone on which the saint, according to tradition, used to sit and fish in the Adige river nearby, sitting on a 1st century Roman funeral altar with a niche showing busts of a husband and wife. The pulpit has an Annunciation, also attributed to the Master of Santa Anastasia. A Crucifixion frescoed on the back wall was recently restored and has been tentatively attributed to Boninsegna da Clocego. Quote ...it came to the very church of the holy martyr* and Bishop Zeno ; and though the church doors were open, yet did it not enter in. At last it grew so high, that it came to the church windows, not far from the very roof itself, and the water standing in that manner, did close up the entrance into the church, yet without running in : as though that thin and liquid element had been turned into a sound wall. And it fell so out, that many at that time were surprised in the church, who not finding any way how to escape out, and fearing lest they might perish for want of meat and drink, at length they came to the church door, and took of the water to quench their thirst, which, as I said, came up to the windows, and yet entered not in; and so for their necessity they took water, which yet, according to the nature of water, ran not in: and in that manner it stood there before the door, being water to them for their comfort, and yet not water to invade the place. Saint Gregory the Great, from The Dialogues Zeno's martyrdom is not elsewhere recorded. Opening times* Daily 9.30 - 11.30am 4.00-6.00pm Monday, Wednesday and Friday A group called Verona Minor Hierusalem staffs touristic visit times for this church, amongst others. The times they publicise for this church are Saturday 10.00 - 5.30 Bibliography La Chiesa di San Zeno in Oratorio - Guida Storico-Artistica by Luciano Rognini, is a booklet available in the church, in Italian.