Beyond the Ponte di Pietra, and almost at the very bend of the river, stands the church of S. Stefano, for many years the Cathedral of Verona, and linked with all its early history, and with days of persecution and trouble. This church, standing on the foundations of a former one destroyed by King Theodoric, was rebuilt in the eleventh century, though the crypt and choir are of an earlier period, and are both beautiful and interesting in the character and originality of their conception.
The whole plan—though on far smaller and simpler lines—recalls that of S. Zeno, for here again is the nave and two side aisles, as well as the three floors formed by the crypt, the central building, and the raised choir. This latter forms a striking feature in S. Stefano; and very remarkable indeed it is with its rough-hewn bishop’s throne—recalling the one in the cathedral church of Torcello, erected there in 1008—and leading to another and older choir beyond, both of which are decorated with frescoes. From the older choir a passage communicates with the crypt, a most unusual contrivance, and one that serves perhaps to demonstrate that those parts of the building date from the same epoch. The crypt is in the form of a Latin cross, and has rows of columns disposed somewhat in the same fashion as those in the crypt of S. Fermo, save that at S. Stefano the columns are of Oriental marble. Many of the bishops of Verona lie buried in this crypt, together with forty martyrs who were done to death in the reign of Diocletian. Here too is the tomb of Galla Placidia, the daughter of the Emperor Valentinian, and wife of Olibrius, Emperor of the East. An ancient statue of St Peter stands in the church, and there are besides several paintings by Brusasorci, Farinato, Giolfino, and other Veronese painters. The façade of the church is impressive, dating probably from the eleventh century, though a careful study will detect traces of a still earlier date; and were it possible to remove two or three additions made in more recent times, the original frontage would stand out in all its simplicity and beauty.
A little further on is the church of S. Giorgio in Braida, or S. Giorgio Maggiore, as it is also called, a building partly raised by San Micheli. This church contains some very fine pictures, for the most part by Veronese masters. Behind the high altar is a grand painting by Paolo Veronese, of peculiar value, as few of his works are to be met with in his native town, most of them having found a home in Venice, the scene of his labours, and where he lived and worked and died. The subject is the martyrdom of St George; and apart from the fine treatment of the figures, the boldness of outline and depth of colour, the picture is intensely interesting as showing the artist’s own portrait in the person of the warrior on horseback in the left hand corner. On either side of this picture are two good paintings, the one on the right by Felice Brusasorci, of the giving of the manna in the desert, fine in tone and in conception, though finished by his pupils; the other by Paolo Farinato in extreme old age, when perhaps his hand had lost some of its cunning. Farinato’s portrait is to be seen in a group of his own family painted in a corner of the picture. The altar below the organ, the first on the right coming down the church, contains a beautiful work by Alessandro Bonvicini of Brescia, known as “Il Moretto,” of St Cecilia between St Catherine, St Lucy, and other saints, with the Virgin above. This picture bears the inscription, “Alexandro Morettus Brix. MDXC.” Just beyond is a most lovely Virgin and Child by Girolamo dai Libri, also signed by the author, and dated 1526. The Virgin, who is enthroned, has S. Lorenzo Giustinian on her right, and S. Zeno on her left; below are three exquisite angels, two of whom are singing, while the third accompanies them on the lute. The detail of the picture is of the same lovely and finished order in which this great miniaturist delighted and excelled, and which he introduced into almost all his work. The third altar has paintings, by Caroto, of SS. Roch and Sebastian; and by Domenico Brusasorci, of the Apostles exorcising an evil spirit. Beyond that is the martyrdom of Lorenzo