Leaving the church by a small door in the left hand corner we come into all that is left of the first church of Sta. Maria Matricolare, from which the cathedral actually took its name and which it retained till it was sunk in that of Duomo. The remains of this church consist now of only six columns with capitals of Lombardo-Byzantine style; and from here we pass into the adjoining small church of S. Giovanni in Fonte, which served in past times as the Baptistery. It has a magnificent octagonal font in the centre, carved out of a single block of Verona marble, on which a series of bas-reliefs, well worth studying, represent in humorous and quaintly primitive carving scenes from the early life of our Lord. Within the octagonal font is a smaller one in quatrefoil shape, wherein the priest was wont to stand and submerge the catechumens who presented themselves for baptism. A painting by Paolo Farinato, representing the baptism of Christ, stood formerly over the high altar, but has now been moved to a side wall, where other works by Giovanni Caroto, Falconetto, and an unknown pupil of Brusasorci, are all hung—and hung too high. Falconetto’s picture is an extremely fine one, recalling in composition, feeling and colouring—at least, as far as can be made out at such a distance—the school of Gian Bellini and the great early Venetian masters.
From the little church of S. Giovanni in Fonte we turn away to the left, and keeping always in that direction, having gone round a corner or two, we reach the cloisters of the cathedral. They recall in some way those of St Zeno, though not altogether similar in arrangement. Here the bases and capitals are united, each pair as at St Zeno being cut out of a single block, while on the side nearest the church the pillars are double—an effect that is remarkably beautiful and striking.
The Duomo forms a centre around which clusters much that is interesting, though the time for investigating these various sights will not in reality take long. In the Piazza on the left hand side facing the chief portal stands the Biblioteca Capitolare, a library belonging to the Duomo, and containing some 18,000 volumes in all. The date of some of the treasures contained here is what constitutes the value of this library, and enhances its worth and interest to an untold extent. It is said to be even superior to the Vatican as to the number of the old codexes which it possesses; and which—not including fragments of the fourth century—date from the fifth to the ninth centuries. It was here that Petrarch discovered the letters of Cicero. Niebuhr brought to light the institutions of Gaius, compiled in the reign of Caracalla; and men of letters of all nations and languages find scope here for research and labour. The value of these codexes is incalculable. The greater part are membranous, many of them being palimpsests, others being written in purple having the sacred names inscribed in gold and silver, and all of them offering fields of discovery whereof students (many from England but more still from Germany) are not slow to take advantage. This library contains besides treasures of varied sorts, for here may be seen the baptismal certificate of Prince Charles Edward, the young pretender, dated “Roma, ultima Dicemb. 1720.” A most friendly and learned custodian, Don Antonio Spagnolo, is only too pleased to show the treasures committed to his charge and to explain everything relating to his priceless and loved books to all who are interested in such matters.
Opposite this library stands the old disused church of S. Pietro in Cattedra, with a statue of St Peter over the doorway, and some graceful windows of the cusped arched order belonging to the fourteenth century. Close to the Duomo again is the church of St Elena, containing some pictures by Falconetto, Felice Brusasorci, and Niccolŏ da Verona; but the chief interest attaching to this church is the tradition that Dante held here the conference in Latin in which he treated “of the elements of earth and water” (De duobus elementis terrae et acquae); if indeed that much disputed treatise is by him, a point much questioned in these days.
Passing round by the east front of the Duomo, and gazing again with admiration on the frieze running round the apse, a work which speaks so plainly of an earlier date than the interior of the church, we come to the Vescovado, or the Bishop’s Palace. This has been altered and rebuilt at various epochs, chiefly about the year 1356; and within its walls Bishop Ognibene received Pope Lucius III. who died here in 1185 when his successor Urban III. was immediately named in his stead. The doorway leading to the palace is a very beautiful bit of work, having the date MD.II. inscribed on it and said to be by Fra Giocondo of Verona. It is of a later date than the walls which support it on either side; and leads in its turn into a striking courtyard with columns and arches of the fanciful Cinquecento style. Inside the Episcopal Palace there is a beautiful predella in the chapel by Liberale consisting of three paintings which represent the Adoration of the Magi, the Nativity of our Lord, and the passing of the Blessed Virgin. There is also said to be a picture by Caroto in the palace, but this is kept in a room not generally shown to visitors.