are also by him; and so too are Nos. 306 and 308. No. 329 is a pleasant portrait by Domenico Brusasorci of himself as a musician. No. 330, the Trinity by Francesco Morone. No. 333, a Madonna and Child with St Andrew and St Peter, by Girolamo dai Libri. No. 334, a very fine Madonna and Child with two saints by Cima da Conegliano. No. 339 is again by Girolamo dai Libri, showing a lovely landscape with an enthroned Madonna, the Child, St Joseph, Tobias, and the angel all in rich glowing colour, and altogether delightful. There are also three pictures by Caroto in this room: one of the three archangels with Tobias over the door is particularly good. It is signed and is very worthy of notice. On the wall coming into this room is a collection of fragments of miniatures from liturgical books by Liberale, and Girolamo dai Libri. They are all framed, and form as choice and rich a collection of such works of art as exists anywhere.
Room VI. (No. 351), a fine picture of the Madonna and cherubs by Carlo Crivelli showing the influence of the Paduan school. No. 355 is a painting on wood in several compartments by one Turone in a frame of the same date (fourteenth century) and representing divers saints. This picture, dated 1360, is cited by Crowe and Cavalcaselle as a proof of how the Veronese school held aloof from all Giottesque influence. Such independence does not meet with the approval of the two art critics, who refuse to see in this course of action an individuality which declined to borrow even from a superior source—an attitude of originality that was indulged in at a possible loss of increased technique and drawing, but that is worthy all the same of respect.
No. 359 is a painting on wood by Stefano da Zevio: a youthful work, signed and dated 1363, of the Madonna and St Catherine in a garden of roses. No. 362, the Crucifixion by Jacopo Bellini, a grand solemn picture even if somewhat retouched. Nos. 368 and 369 are small altar-pieces by Girolamo Benaglio, in frames characteristic of the period (fifteenth century) and in good taste. No. 376, the Resurrection, attributed to Squarcione, and possibly containing some of his work. No. 377, a Deposition by Liberale, but hung too high to be seen well. Nos. 390, 392, 394, are far and away the gems of this room, and are all fine works by Cavazzola. They represent Gethsemane, the Deposition, the Bearing of the Cross. The Deposition is the most famous of this series, which, as shown by the inscription, was painted in 1517, and in it is to be seen the artist’s portrait to the left of the cross, while in the background stand out the heights of Verona with the castle of San Pietro and the Adige below.
Few of the other rooms have anything of interest or merit in them, though in No. IX.—when not closed—are to be seen some of the medals of Vittore Pisanello; and a fresco by Cavazzola, brought here from the church of SS. Nazzaro and Celso. There is also a fine fresco in Room XII. by Francesco Morone, of the Madonna with saints, that shows great power of grouping. This was originally on the exterior of a house near the Ponte delle Navi, and was brought here for preservation. Layard says: “A charming specimen of his (Morone’s), warm, rich colouring, and delicate and graceful sentiment was, until recently, to be seen in a fresco of the Virgin and Child and saints, on the façade of a house near the Ponte delle Navi at Verona, dated 1515, which added much to the picturesque beauty of the site. It has unfortunately been transferred to canvas, suffering irreparably in the process and by clumsy restoration, and is now a mere wreck in the public gallery.”[52]
Here, too, are some frescoes by Martino da Verona, by Giolfino, and by Caroto, and with a glance at them the visit to the picture gallery may be brought to a close.
CHAPTER X
S. Paolo di Campo Marte—SS. Nazzaro e Celso—The Grotto di S. Nazzaro—St Thomas of Canterbury—Giardino Giusti—Sta. Maria in Organo—S. Giovanni in Valle—Teatro Antico—SS. Siro e Libera—Castle of Theodoric—S. Stefano—S. Giorgio in Braida