by Sigismondo da Stefano; and a not very beautiful St Ursula is in the adjoining chapel by Caroto. In the second altar coming down the church on the left are some angels by Brusasorci; and an Annunciation by Caroto, in which the Archangel Gabriel is more beautiful to look on than the Blessed Virgin. Above the main door is a picture of our Lord’s Baptism by Tintoretto, but hung at so great a height it is not easy to see.
The way back into the town leads either across the modern iron bridge called after Garibaldi, or by that known as the Ponte della Pietra, a magnificent example of Roman work, and one of the most picturesque bridges in Verona. The two arches towards the hill are of recognised Roman construction; the rest leading into the town and towards the tower on that side erected by the Scaligers, is said to be the work of Fra Giocondo in 1521. Soon after crossing the “Pons marmoreus,” as it was also called, we come to an old house at the bend of the road and facing the bridge which has a fresco painted under the eaves depicting the wares sold in the shop below, among which may be seen a bunch of tallow candles tied by their wicks and suspended on high—a practice familiar enough among ourselves. The painting was done in the “cinque cento,” and the trade of “wholesale grocer” goes on in the building to-day as it did some five centuries ago.
In the Via Cappelletta, that opens out from the Via Ponte Pietra, is a house which claims to have been that of the Capulets—a claim that has no foundation, and that perhaps has only been raised in order to entice the passer-by to go in to see a very pretty courtyard, which certainly deserves a moment’s glance if the inspection of the many sights of “Veronetta” has not exhausted all our powers of endurance.
CHAPTER XI
Sant’ Eufemia—Porta dei Borsari—S.S. Apostoli—S. Lorenzo—S. Bernardino—Sta. Trinità—Tomb of Romeo and Juliet—Ponte Rofiolo—Piazza Brà