Old Continental Towns

by Walter M. Gallichan

One wishes that there were a better word than “picturesque.” How hackneyed seem adjectives and phrases in describing these old towns. Verona then is very beautiful; it is certainly one of the loveliest cities of Europe, both in its surroundings and within its confines. You will not soon tire of the Piazza della Erbe, with the flying lion on its column, the charming fountain, and the stately Municipio. Here you will watch the life of Verona of to-day, and reflect that it has not wholly changed since the time of the Scaligers, the mighty rulers of the city. There is, of course, the modern note. But the old buildings stand, and in their shade people in the dress of olden days pass continually. It is inspiring and a trifle unreal when the moon lights the square, and the silence of night lends mystery to the scene.

In Verona everyone strives to live and work in the open air. The streets are thronged on days of market, stalls are set up in the narrow lanes and in the piazzas, vegetables and fruit come in great store. The eternal garlic scents the street, but we learn to love its odour. In Spain a market is quiet and solemn; here the scene is gay and noisy. Voices are raised, and there is lively bartering of wares. There are subjects at every turn for the brush of the painter—stern old buildings, winding alleys, and groups of garishly dressed peasants.

Diocletian’s glorious amphitheatre is the chief wonder of Verona. Few Roman monuments are so well preserved; the lower arches are almost perfect, and the stonework has been restored.

Great gladiators fought here during hundreds of centuries. The tiers had thousands of seats for spectators of all classes; and in later times the knights of chivalry contended in the circus. There is a fine view from the highest tier, overlooking the city and the varied landscape.

The structure is of a dull red marble, and signs of decay have been removed by repeated restoration, for the people of Verona take great pride in this monument. “The amphitheatre,” writes Goethe, “is the first important monument of the old times that I have seen—and how well it is preserved!”

Fra Giaconda designed the Palazza del Consiglio, and his fine arches and statuary deserve close inspection. The Tribunale and the Palazza della Ragione, both interesting, should be visited; the tombs of Scaligers in the Tribunale are Gothic work of great beauty.

There are several important churches in the city. The cathedral was begun in the twelfth century, and is adorned with a number of exterior images and reliefs. One of the chief works of the interior is Titian’s “Assumption.” San Zeno Maggiore has a beautiful façade, with Theodoric the Goth as one of the carvings, and a doorway of noble decorations. The interior of this church is very impressive.

The Church of Sant Anastasia dates from the thirteenth century, and is one of the most striking buildings in Verona. In the Cavilli Chapel are some old frescoes, and there is a splendid statue of the last of the Scaliger rulers, Cortesia Sarega, on horseback.

San Giorgio has some famous paintings. Let us inspect first the great picture of Paolo Veronese, “The Martyrdom of St George.” Paolo Caliari, born in 1528, was a native of Verona, and came to be known as “The Veronese.” His model was Titian, and he excelled in colour effects, and in the brilliance of his scenes. Several of his chief works are in Venice, but the example in this church is considered one of his greatest achievements. More of his pictures will be seen in the gallery of the Pompeii Palace. The art of Paolo Veronese appealed strongly to Goethe, who admired more than all his work in portraiture.

Jacopo Robusti, called Tintoretto, was the founder of the Venetian School. Like Veronese, he followed the method of Titian. He was a prolific painter. Venice abounds in his works, and there are several of his paintings in Verona. In San Giorgio is “The Baptism of Christ,” and Goethe refers to one of this artist’s pictures, called “A Paradise,” in the Bevilague Palace.