La guida di Mathia
Visite turistiche
Architectural work unfinished, in the cell where the saint once lived along the left aisle, there is now a considerable Lamentation wooden life-size, style and fifteenth-century author uncertain, with a strong expressionist gestures and faces of the characters that surround the Christ died.
XVI century frescoes adorn addition, the ribbed vault of the chapel next door. Opposite, on the right side, it opens as to form a transept, the chapel of St. Tuscany, with frescoed vault flowered with four rounds within which you can see St. Bernard, St. John the Baptist, Blessed Henry from Bolzano and holy Tuscany. Of this, at one time you could read the date and signature: "Domenicus Tol. Doctum cecidisse cacomen, 1853."
The date of the fresco in 1853 must refer probably to some restoration or reconstruction, as it is known only from Tolmezzo Domenico, who lived between 1448 and 1507. Local historians agree it is precisely these supposedly the author of the frescoes of the chapel. The stylistic affinities opera in Verona with the other notes of the great painter carnico are, in fact, remarkable. work in the chapel was completed around 1489, when Domenico was about forty-two, as confirmed indirectly by Soncino in Foil Horns in 1487, where he writes, "are human bones in the tomb in the chapel of the left hand of the glorious nomata Tuscany." For these reasons, the work may belong to the fifteenth-century painter who was certainly in touch with the artistic circles of Verona.
Santa Toscana, Verona
27 Piazza XVI OttobreArchitectural work unfinished, in the cell where the saint once lived along the left aisle, there is now a considerable Lamentation wooden life-size, style and fifteenth-century author uncertain, with a strong expressionist gestures and faces of the characters that surround the Christ died.
XVI century frescoes adorn addition, the ribbed vault of the chapel next door. Opposite, on the right side, it opens as to form a transept, the chapel of St. Tuscany, with frescoed vault flowered with four rounds within which you can see St. Bernard, St. John the Baptist, Blessed Henry from Bolzano and holy Tuscany. Of this, at one time you could read the date and signature: "Domenicus Tol. Doctum cecidisse cacomen, 1853."
The date of the fresco in 1853 must refer probably to some restoration or reconstruction, as it is known only from Tolmezzo Domenico, who lived between 1448 and 1507. Local historians agree it is precisely these supposedly the author of the frescoes of the chapel. The stylistic affinities opera in Verona with the other notes of the great painter carnico are, in fact, remarkable. work in the chapel was completed around 1489, when Domenico was about forty-two, as confirmed indirectly by Soncino in Foil Horns in 1487, where he writes, "are human bones in the tomb in the chapel of the left hand of the glorious nomata Tuscany." For these reasons, the work may belong to the fifteenth-century painter who was certainly in touch with the artistic circles of Verona.
It was built in the fifteenth century (1464-1483) by the Benedictine monks, was present when one of their monasteries and the remains of an ancient cave-church dedicated to Saints Nazario, Giuliana and Celso, which had been dug out of the mountain above Scaglione.
From the public highway leads to the churchyard crossing a monumental portal stone building, built in the second half of the seventeenth century by the architect Antonio Saletti inspired by the classical models: two pairs of Ionic columns enclosed by fluttering draperies, topped by a heavy eardrum. The facade is very exciting and it seems pervaded by uncertainty stylistic patterns that re-Romanesque-Gothic, uniting with Renaissance elements. And 'sober and slender, made of terra-cotta bricks, decorated with pinnacles, large windows and frames trefoil arches. It has a majestic central rose window and a Gothic portal with a pointed arch, in whose bezel is a fresco (Madonna with Saints Nazario and Celso) painted by Paul Ligozzi. Elegant is instead the sixteenth-century bell tower, clearly inspired by Venetian models.
Chiesa dei Santi Nazaro e Celso
It was built in the fifteenth century (1464-1483) by the Benedictine monks, was present when one of their monasteries and the remains of an ancient cave-church dedicated to Saints Nazario, Giuliana and Celso, which had been dug out of the mountain above Scaglione.
From the public highway leads to the churchyard crossing a monumental portal stone building, built in the second half of the seventeenth century by the architect Antonio Saletti inspired by the classical models: two pairs of Ionic columns enclosed by fluttering draperies, topped by a heavy eardrum. The facade is very exciting and it seems pervaded by uncertainty stylistic patterns that re-Romanesque-Gothic, uniting with Renaissance elements. And 'sober and slender, made of terra-cotta bricks, decorated with pinnacles, large windows and frames trefoil arches. It has a majestic central rose window and a Gothic portal with a pointed arch, in whose bezel is a fresco (Madonna with Saints Nazario and Celso) painted by Paul Ligozzi. Elegant is instead the sixteenth-century bell tower, clearly inspired by Venetian models.
Next to "Il Vicolo" Apartments Verona center, it is the only sixteenth-century Italian garden display in Verona. A green oasis ten minutes from the Arena where you can see collections of flowers, Roman remains and a majestic avenue of cypress trees, fountains, grottoes acoustic and a hedge maze among the oldest in Europe.
Located within walking distance from the city center and very close to Roman Theatre, yet hidden to the eye of the visitor in a hurry and distracted, Giardino Giusti is a corner of Verona, which leads to slow and meditation. A splendid example of Italian garden, enchanting with the sublime spectacle of art and nature property in timeless harmony.
Its history began in the fifteenth century when the Tuscan Giusti family moved to Verona, establishing your own business in this area of dyeing wool. In the second sixteenth Count Agostino Giusti did rearrange the fields behind the palace, for vegetable and fruit garden, recreating a typical Tuscan Renaissance garden, following the philosophy of the time that is the basis of Boboli. The choice of design for the garden depended on the particular morphology of the area: a stretch of level ground, bounded on the north by a massive cliff that winds up on the hill of San Pietro, which is followed by a further small strip of land that , slightly wavy, extends east beyond the borders of the lower one.
Thanks to a clever interplay of perspectives the avenue is longer than it actually is, and culminates with the arrival of one of the five caves carved into the cliff, topped by a giant stone mask crowned by balustrades of a wonderful belvedere. In the garden there is also a maze of hedges, woods, small in size but difficult the path, among the oldest in Europe already included in the original sixteenth-century Verona was redesigned in 1786 by architect Luigi Trezza. From the turret-shaped bell tower located next to the cliff runs a large spiral staircase leading to the terrace of the lookout and to the upper garden, with a beautiful view over the city of Romeo and Juliet.
172 명의 현지인이 추천하는 곳
쥬스티 정원
2 Via Giardino GiustiNext to "Il Vicolo" Apartments Verona center, it is the only sixteenth-century Italian garden display in Verona. A green oasis ten minutes from the Arena where you can see collections of flowers, Roman remains and a majestic avenue of cypress trees, fountains, grottoes acoustic and a hedge maze among the oldest in Europe.
Located within walking distance from the city center and very close to Roman Theatre, yet hidden to the eye of the visitor in a hurry and distracted, Giardino Giusti is a corner of Verona, which leads to slow and meditation. A splendid example of Italian garden, enchanting with the sublime spectacle of art and nature property in timeless harmony.
Its history began in the fifteenth century when the Tuscan Giusti family moved to Verona, establishing your own business in this area of dyeing wool. In the second sixteenth Count Agostino Giusti did rearrange the fields behind the palace, for vegetable and fruit garden, recreating a typical Tuscan Renaissance garden, following the philosophy of the time that is the basis of Boboli. The choice of design for the garden depended on the particular morphology of the area: a stretch of level ground, bounded on the north by a massive cliff that winds up on the hill of San Pietro, which is followed by a further small strip of land that , slightly wavy, extends east beyond the borders of the lower one.
Thanks to a clever interplay of perspectives the avenue is longer than it actually is, and culminates with the arrival of one of the five caves carved into the cliff, topped by a giant stone mask crowned by balustrades of a wonderful belvedere. In the garden there is also a maze of hedges, woods, small in size but difficult the path, among the oldest in Europe already included in the original sixteenth-century Verona was redesigned in 1786 by architect Luigi Trezza. From the turret-shaped bell tower located next to the cliff runs a large spiral staircase leading to the terrace of the lookout and to the upper garden, with a beautiful view over the city of Romeo and Juliet.
Next to "Il Vicolo" Center Apartments Verona is an ancient church, whose origins are lost in time and date back to the Lombard era, which preserves a rich pictorial decoration. In the visit deserve particular attention in the marquetry on the cupboards wooden choir and the sacristy.
The origins of the Church of Santa Maria in Organo date back to the Lombard era, between the sixth and seventh centuries AD. Destroyed and rapidly rebuilt after the earthquake of 1117, was rebuilt again at the turn of the '500 by the Benedictine Monks who had been entrusted in 1444 by Pope Eugene IV. Become one of the richest abbeys of the city was facing a side channel of the river Adige (today Via Basement Water Dead) which was closed after a disastrous flood in the last years of the nineteenth century, unfortunately decreeing the end of some of the angles most characteristic of the old Veronetta.
The façade is unfinished and is presented with a composite style, divided into two distinct parts. The bottom white marble (the work of Sanmicheli) is Renaissance, and more recently, with three imposing arches separated by pilasters and Corinthian columns and the upper part is the Gothic-Romanesque and preserve its original coating that alternated rows of brick and tuff, ending in the attic with a delicate decoration hanging arches. Renaissance are also forms of sixteenth-century bell tower, on the right side of the church, which escapes from the typical Veronese: overlapping orders of mullioned windows, blind in the lower levels and open in the belfry, surmounted by a balustrade that surrounds an octagonal drum with fairing slender.
The interior has three naves in the shape of a Latin cross, with transept and presbytery (transept) slightly raised with respect to the parish church has a rich pictorial decoration: frescoes by Francesco and Nicolò Caroto Giolfino on the gables of the nave; blades Antonio Balestra , Paul Farinati, Francesco Torbido and Guercino in the side chapels, frescoes by Francesco Morone, paintings by Domenico Brusasorci and a shovel of Alessandro Turchi said Orbetto in the sacristy. Under the presbytery is the lower church, pre-Romanesque building with three naves with vaulted ceilings, columns and capitals of the eighth century. Visited upon request contains a famous fourteenth-century marble altarpiece attributed to John of Rigino.
Among the jewels stored at Santa Maria in Organo deserve special attention the incredible marquetry in the choir stalls and on the cupboards of the sacristy. Made between the end of the fifteenth century and the first decades of the sixteenth century by Friar Giovanna da Verona, with painstaking craftsmanship depicting urban landscapes (and the ideal city of Verona), allegories, still life, common objects and liturgical use. Superb in the candlestick of the Paschal candle, the work by the same author in walnut and almost four meters high, which are inlaid dolphins, sphinxes and pictures of saints. In the church there is also a precious polychrome wooden sculpture of the thirteenth century (Muletta) depicting a Blessing Christ entering Jerusalem astride a mule.
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Chiesa di Santa Maria in Organo
Piazzetta Santa Maria in OrganoNext to "Il Vicolo" Center Apartments Verona is an ancient church, whose origins are lost in time and date back to the Lombard era, which preserves a rich pictorial decoration. In the visit deserve particular attention in the marquetry on the cupboards wooden choir and the sacristy.
The origins of the Church of Santa Maria in Organo date back to the Lombard era, between the sixth and seventh centuries AD. Destroyed and rapidly rebuilt after the earthquake of 1117, was rebuilt again at the turn of the '500 by the Benedictine Monks who had been entrusted in 1444 by Pope Eugene IV. Become one of the richest abbeys of the city was facing a side channel of the river Adige (today Via Basement Water Dead) which was closed after a disastrous flood in the last years of the nineteenth century, unfortunately decreeing the end of some of the angles most characteristic of the old Veronetta.
The façade is unfinished and is presented with a composite style, divided into two distinct parts. The bottom white marble (the work of Sanmicheli) is Renaissance, and more recently, with three imposing arches separated by pilasters and Corinthian columns and the upper part is the Gothic-Romanesque and preserve its original coating that alternated rows of brick and tuff, ending in the attic with a delicate decoration hanging arches. Renaissance are also forms of sixteenth-century bell tower, on the right side of the church, which escapes from the typical Veronese: overlapping orders of mullioned windows, blind in the lower levels and open in the belfry, surmounted by a balustrade that surrounds an octagonal drum with fairing slender.
The interior has three naves in the shape of a Latin cross, with transept and presbytery (transept) slightly raised with respect to the parish church has a rich pictorial decoration: frescoes by Francesco and Nicolò Caroto Giolfino on the gables of the nave; blades Antonio Balestra , Paul Farinati, Francesco Torbido and Guercino in the side chapels, frescoes by Francesco Morone, paintings by Domenico Brusasorci and a shovel of Alessandro Turchi said Orbetto in the sacristy. Under the presbytery is the lower church, pre-Romanesque building with three naves with vaulted ceilings, columns and capitals of the eighth century. Visited upon request contains a famous fourteenth-century marble altarpiece attributed to John of Rigino.
Among the jewels stored at Santa Maria in Organo deserve special attention the incredible marquetry in the choir stalls and on the cupboards of the sacristy. Made between the end of the fifteenth century and the first decades of the sixteenth century by Friar Giovanna da Verona, with painstaking craftsmanship depicting urban landscapes (and the ideal city of Verona), allegories, still life, common objects and liturgical use. Superb in the candlestick of the Paschal candle, the work by the same author in walnut and almost four meters high, which are inlaid dolphins, sphinxes and pictures of saints. In the church there is also a precious polychrome wooden sculpture of the thirteenth century (Muletta) depicting a Blessing Christ entering Jerusalem astride a mule.
A stone's throw from the apartments "Il Vicolo", consists of buildings from different periods, placed in a scenic natural environment hilly. Originally it stretched from the shore of the Adige to the top of the hill and was crowned by a temple whose remains have come to light in 1851, when the Austrians began the excavations for the reconstruction of Castel S. Peter.
The Roman Theatre has remained buried for many centuries. Built at the beginning of the century. A.D. and designed even in the first century. BC, from the tenth century., on its ruins were built religious buildings and homes that over time completely concealed structures of the theater. Of these buildings remained, the eastern wing of the auditorium, the church of SS. Siro and Freedom which has maintained the original structure, while undergoing various changes in the XIV-XVIII sec. (Inside there are paintings of the fourteenth century. Giambettino and the tomb of Cignaroli). In the eighteenth century., An excavation brought to light random fragments of marble, rekindling interest in the monument. In 1904, the City of Verona acquired the area and continued the renovations to completion in the 70s. Since 1948, the theater is home to Summer Theatre Veronese, summer season of plays, which since 1968 has also added the dance. Since 1985 he is home, always within Summer Theatre Veronese, Verona Jazz Festival.
The theater consists of the remains of the stage, the orchestra, the auditorium, two orders of galleries and 3 terraces linked up to the top of the hill.
204 명의 현지인이 추천하는 곳
로마 극장 고고학 박물관
2 Rigaste RedentoreA stone's throw from the apartments "Il Vicolo", consists of buildings from different periods, placed in a scenic natural environment hilly. Originally it stretched from the shore of the Adige to the top of the hill and was crowned by a temple whose remains have come to light in 1851, when the Austrians began the excavations for the reconstruction of Castel S. Peter.
The Roman Theatre has remained buried for many centuries. Built at the beginning of the century. A.D. and designed even in the first century. BC, from the tenth century., on its ruins were built religious buildings and homes that over time completely concealed structures of the theater. Of these buildings remained, the eastern wing of the auditorium, the church of SS. Siro and Freedom which has maintained the original structure, while undergoing various changes in the XIV-XVIII sec. (Inside there are paintings of the fourteenth century. Giambettino and the tomb of Cignaroli). In the eighteenth century., An excavation brought to light random fragments of marble, rekindling interest in the monument. In 1904, the City of Verona acquired the area and continued the renovations to completion in the 70s. Since 1948, the theater is home to Summer Theatre Veronese, summer season of plays, which since 1968 has also added the dance. Since 1985 he is home, always within Summer Theatre Veronese, Verona Jazz Festival.
The theater consists of the remains of the stage, the orchestra, the auditorium, two orders of galleries and 3 terraces linked up to the top of the hill.
Just two hundred meters from "Il Vicolo" Verona Apartments and Hospitality Center. Built in the first century BC to replace an earlier wooden bridge, stone bridge is the oldest Roman monument of Verona.
It combined the original route of the Postojna with the hill in front at a ford, which was present here since the dawn of time. In Roman times there were seven bridges that crossed the Adige at various points in the city, and the two were near the Roman Theatre: Stone bridge and bridge Postumius. It would be interesting to see the two bridges still almost side by side, but in 905 Postumius the bridge was partially destroyed by a flood of the Adige, and after three centuries, in 1239 it finally gave way to the river.
Of its five arches only two on the left, built of white stone, dating back to Roman times, the central arch and the next one, made of bricks, belong to a reconstruction carried out in 1520, the last arch on the right goes back to a Medieval wanted to remake in 1298 by Alberto I della Scala. On this occasion, the bridge was also equipped with a menacing defensive tower placed at his head, adorned towards the river by a stone arch with the emblem of the Scala.
Beautiful by day, offers the best of themselves during the night, one of the most romantic places in the entire city.
Blew up on April 24, 1945 by the Germans has been faithfully reconstructed using only original materials recovered from the river bed.
197 명의 현지인이 추천하는 곳
폰테 피에트라
Just two hundred meters from "Il Vicolo" Verona Apartments and Hospitality Center. Built in the first century BC to replace an earlier wooden bridge, stone bridge is the oldest Roman monument of Verona.
It combined the original route of the Postojna with the hill in front at a ford, which was present here since the dawn of time. In Roman times there were seven bridges that crossed the Adige at various points in the city, and the two were near the Roman Theatre: Stone bridge and bridge Postumius. It would be interesting to see the two bridges still almost side by side, but in 905 Postumius the bridge was partially destroyed by a flood of the Adige, and after three centuries, in 1239 it finally gave way to the river.
Of its five arches only two on the left, built of white stone, dating back to Roman times, the central arch and the next one, made of bricks, belong to a reconstruction carried out in 1520, the last arch on the right goes back to a Medieval wanted to remake in 1298 by Alberto I della Scala. On this occasion, the bridge was also equipped with a menacing defensive tower placed at his head, adorned towards the river by a stone arch with the emblem of the Scala.
Beautiful by day, offers the best of themselves during the night, one of the most romantic places in the entire city.
Blew up on April 24, 1945 by the Germans has been faithfully reconstructed using only original materials recovered from the river bed.
A few dozen meters from the central Piazza delle Erbe and "Il Vicolo" Apartments Verona, stands the house where, according to tradition, lived Juliet Capulet.
An imposing wrought iron gate which bears the emblem of the Dal Cappello separates his hall, in which lovers of every place and age leave testimony of their love, from the public road. Pass it leads to a courtyard where there is the beautiful bronze statue of Juliet, Verona created by sculptor Nereo Costantini, and a plaque on which are some verses of Shakespeare's tragedy.
The house is a strict system of thirteenth-century medieval building, whose facade brickwork is softened by elegant trefoil windows. On the front is the famous balcony from which, according to tradition, Juliet looked out to talk with her beloved Romeo.
Arranged on different floors, offers a plausible reconstruction of the typical mansions of the fourteenth century, enhanced by a copious selection of medieval ceramics, from 'elegant frescoes that adorned the walls which stand in their austere simplicity, inlaid chests, brick chimneys , wooden stairs with railings and walkways.
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줄리엣의 집
23 Via CappelloA few dozen meters from the central Piazza delle Erbe and "Il Vicolo" Apartments Verona, stands the house where, according to tradition, lived Juliet Capulet.
An imposing wrought iron gate which bears the emblem of the Dal Cappello separates his hall, in which lovers of every place and age leave testimony of their love, from the public road. Pass it leads to a courtyard where there is the beautiful bronze statue of Juliet, Verona created by sculptor Nereo Costantini, and a plaque on which are some verses of Shakespeare's tragedy.
The house is a strict system of thirteenth-century medieval building, whose facade brickwork is softened by elegant trefoil windows. On the front is the famous balcony from which, according to tradition, Juliet looked out to talk with her beloved Romeo.
Arranged on different floors, offers a plausible reconstruction of the typical mansions of the fourteenth century, enhanced by a copious selection of medieval ceramics, from 'elegant frescoes that adorned the walls which stand in their austere simplicity, inlaid chests, brick chimneys , wooden stairs with railings and walkways.
A few minutes walk from "Il Vicolo" Residence Verona center. The square follows the system of the ancient Roman Forum and for centuries has been the center of political and economic life of the city. The toloneo, which is the central area, is still animated by a colorful market. Coming from Corso Mazzini, there are: the column of the market (1401), topped by a shrine Gothic and commissioned by Gian Galeazzo Visconti to expose the insignia of his lordship, went up stairs and pillars trade measures Verona, the sixteenth-century sedan or capital , marble canopy square, beneath which sat the mayor at the inauguration ceremony, the fountain of Madonna Verona, which has a bath and stem decorated with heads in relief and symbolic figures and is surmounted by the figure of Madonna Verona, Roman statue of the first sec. AD, the column of San Marco 1523, in white marble, on top of which was hoisted the lion symbol of the Republic of Venice (destroyed by the French, the current is 1886.) The square is surrounded by palaces and buildings that have marked the history of Verona: the "Domus Mercatorum" built in 1301 by Alberto I della Scala, the building has a portico supported by columns and pillars, large mullioned windows and battlements; 800 a restructuring it altered the original Romanesque and l ' building became the seat of the Chamber of Commerce, the Tower of Gardello, crenellated brick, built in 1370 by Cansignorio for keeping the oldest clock bell of Verona, the Palazzo Maffei, building of 1668 in late baroque style, has a terrace with a balustrade adorned with 6 statues of pagan gods (Hercules, Jupiter, Venus, Mercury, Apollo and Minerva), the Case Mazzanti (formerly Domus Blandorum Scala that, in the fourteenth, on the ground floor housed shops and private homes, while the upper floor was used as a granary), joined by the porch and the street facades of the square and Corso S. Anastasia were richly frescoed by Alberto Cavalli in the first half of '500, the Domus Nova and the side elevation of the neoclassical Palazzo della Ragione, in the midst of which is supported learning French (so named because of the presence, from the mid ' 700, a rib of a whale hanging from the ceiling) from which you enter in Piazza dei Signori. On the two squares stands the Torre dei Lamberti.
207 명의 현지인이 추천하는 곳
피아자델레에르베
Piazza ErbeA few minutes walk from "Il Vicolo" Residence Verona center. The square follows the system of the ancient Roman Forum and for centuries has been the center of political and economic life of the city. The toloneo, which is the central area, is still animated by a colorful market. Coming from Corso Mazzini, there are: the column of the market (1401), topped by a shrine Gothic and commissioned by Gian Galeazzo Visconti to expose the insignia of his lordship, went up stairs and pillars trade measures Verona, the sixteenth-century sedan or capital , marble canopy square, beneath which sat the mayor at the inauguration ceremony, the fountain of Madonna Verona, which has a bath and stem decorated with heads in relief and symbolic figures and is surmounted by the figure of Madonna Verona, Roman statue of the first sec. AD, the column of San Marco 1523, in white marble, on top of which was hoisted the lion symbol of the Republic of Venice (destroyed by the French, the current is 1886.) The square is surrounded by palaces and buildings that have marked the history of Verona: the "Domus Mercatorum" built in 1301 by Alberto I della Scala, the building has a portico supported by columns and pillars, large mullioned windows and battlements; 800 a restructuring it altered the original Romanesque and l ' building became the seat of the Chamber of Commerce, the Tower of Gardello, crenellated brick, built in 1370 by Cansignorio for keeping the oldest clock bell of Verona, the Palazzo Maffei, building of 1668 in late baroque style, has a terrace with a balustrade adorned with 6 statues of pagan gods (Hercules, Jupiter, Venus, Mercury, Apollo and Minerva), the Case Mazzanti (formerly Domus Blandorum Scala that, in the fourteenth, on the ground floor housed shops and private homes, while the upper floor was used as a granary), joined by the porch and the street facades of the square and Corso S. Anastasia were richly frescoed by Alberto Cavalli in the first half of '500, the Domus Nova and the side elevation of the neoclassical Palazzo della Ragione, in the midst of which is supported learning French (so named because of the presence, from the mid ' 700, a rib of a whale hanging from the ceiling) from which you enter in Piazza dei Signori. On the two squares stands the Torre dei Lamberti.
Begun in the twelfth century and several times raised, since 1464 is the highest tower in Verona. From the panoramic belfry, accessible by a long flight of stairs or using an elevator. you can enjoy a breathtaking view that branches off from the city center up to the surrounding mountains.
On the north-east of Piazza delle Erbe and Roman Palazzo della Ragione is dominated by an imposing tower, with its 84 meters of height seems to oversee a fatherly watch over the square and traders working for it. And 'Tower of the City, better known as Lamberti Tower in memory of the powerful family from Verona who had it built.
Its construction began in 1172 following the Romanesque style typical of the era and even today visible in the lower part, made of brick alternating with tuff. Over the centuries it has undergone various elevations, in a series of materials and styles always in tune with each other happily, until 1464 when, with the addition of an octagonal belfry above the windows three-mullioned windows has become the highest tower in Verona. A final intervention at the end of the eighteenth century to enter the clock still running and visible from Piazza Bra.
Inside already in 1295 had been placed both bells, rintoccando hours, regulating the pace of city life: the Rengo and Marangona. The Rengo was the largest and was used to call people to gather during the most important moments of city life or to give the alarm in case of danger for the city. The Marangona (from "joiner" in Veronese dialect means carpenter) was used to scan the working hours of the artisans of the city center and gave the alarm if there was a fire.
103 명의 현지인이 추천하는 곳
람베르티 타워
1 Via della CostaBegun in the twelfth century and several times raised, since 1464 is the highest tower in Verona. From the panoramic belfry, accessible by a long flight of stairs or using an elevator. you can enjoy a breathtaking view that branches off from the city center up to the surrounding mountains.
On the north-east of Piazza delle Erbe and Roman Palazzo della Ragione is dominated by an imposing tower, with its 84 meters of height seems to oversee a fatherly watch over the square and traders working for it. And 'Tower of the City, better known as Lamberti Tower in memory of the powerful family from Verona who had it built.
Its construction began in 1172 following the Romanesque style typical of the era and even today visible in the lower part, made of brick alternating with tuff. Over the centuries it has undergone various elevations, in a series of materials and styles always in tune with each other happily, until 1464 when, with the addition of an octagonal belfry above the windows three-mullioned windows has become the highest tower in Verona. A final intervention at the end of the eighteenth century to enter the clock still running and visible from Piazza Bra.
Inside already in 1295 had been placed both bells, rintoccando hours, regulating the pace of city life: the Rengo and Marangona. The Rengo was the largest and was used to call people to gather during the most important moments of city life or to give the alarm in case of danger for the city. The Marangona (from "joiner" in Veronese dialect means carpenter) was used to scan the working hours of the artisans of the city center and gave the alarm if there was a fire.
A few minutes walk from the Residenza Verona Centro "Il Vicolo" Coming away from the Costa come our right, the thirteenth-century Palazzo della Ragione and the Scala Palace Cansignorio. On the bottom of the square is the Scala palace of CanGrande and to the left of the Loggia Fra Giocondo, an elegant example of Renaissance architecture; the perimeter is closed from Palazzo della Pietà and the baroque facade of Domus Nova, or House of the Judges, the residence of the Podestà and later home of the judges sent from Venice during the Venetian Republic.
At the center of the square stands the monument to Dante Alighieri, built in 1865 to celebrate the sixth anniversary of the birth of the great poet, who during his long exile from Florence was a guest at Verona.
It is a splendid marble statue, three meters high, supported by a pedestal in which Dante, turning his back on the street Fogge, his head turned slightly toward the Palace Cansignorio.
A small face on the right leads to the Courtyard of the Old Market, the ancient seat of the commercial activities and the city market. Here stands out in all its beauty, the scale of Reason, in red marble from Verona, who bore within the Court. An entrance hidden by its grandeur leads to the Lamberti tower whose top is accessible via winding stairs or elevator.
Returning to Piazza dei Signori, we find the Palace of Cansignorio, separate from that of Reason through archaeological excavations have brought to light flooring and Roman foundations. It was built in the second half of the fourteenth century on pre-existing early medieval dwellings and also was initially a tower-house with mighty defenses, enclosed central courtyard and a large walled garden. Crossing the sixteenth-century white marble portal leads to the Courtyard of the Court, in which there is the original holder of the Bombers and the entrance to the excavations Scala, an archaeological underground, where the remains of the ancient Roman roads and medieval buildings are the background for temporary exhibitions of the International Center of Photography.
Adjacent to the Palace of Cansignorio and almost concealed by the latter, in a corner of Piazza dei Signori you can see the small church of Santa Maria Antica, Roman place of worship especially loved by the Scala family, home on the portal of the stone sarcophagus I Can Grande della Scala, powerful son of the dynasty. Beside a wrought iron gate protects one of the most beautiful and evocative of the city, the Scaliger Tombs. It is a small private cemetery, monumental and spectacular, which houses the tombs of the first lords of Verona, together with the magnificent tombs of Can Grande, Mastino II and Cansignorio with their equestrian sculptures that rise into the sky in a sort of eternal tournament.
In front of the church of Santa Maria Antica, in the short side of Piazza dei Signori, stands the majestic medieval Palace of Can Grande. Built at the end of the thirteenth century is formed by an articulated complex of buildings that are developed on three sides around a rectangular courtyard, and leaves open the front facing St. Anastasia course. The facade on Piazza dei Signori is the most beautiful and majestic, adorned with a beautiful Renaissance portal reminiscent of Roman triumphal arches, built in 500 by San Micheli and surmounted by a winged lion, symbol of Venice, is formed by an arc to all sixth, adorned with four Ionic columns, coats of arms in intercolumniations and images of winged victories in the corners.
94 명의 현지인이 추천하는 곳
시뇨리 광장
Piazza dei SignoriA few minutes walk from the Residenza Verona Centro "Il Vicolo" Coming away from the Costa come our right, the thirteenth-century Palazzo della Ragione and the Scala Palace Cansignorio. On the bottom of the square is the Scala palace of CanGrande and to the left of the Loggia Fra Giocondo, an elegant example of Renaissance architecture; the perimeter is closed from Palazzo della Pietà and the baroque facade of Domus Nova, or House of the Judges, the residence of the Podestà and later home of the judges sent from Venice during the Venetian Republic.
At the center of the square stands the monument to Dante Alighieri, built in 1865 to celebrate the sixth anniversary of the birth of the great poet, who during his long exile from Florence was a guest at Verona.
It is a splendid marble statue, three meters high, supported by a pedestal in which Dante, turning his back on the street Fogge, his head turned slightly toward the Palace Cansignorio.
A small face on the right leads to the Courtyard of the Old Market, the ancient seat of the commercial activities and the city market. Here stands out in all its beauty, the scale of Reason, in red marble from Verona, who bore within the Court. An entrance hidden by its grandeur leads to the Lamberti tower whose top is accessible via winding stairs or elevator.
Returning to Piazza dei Signori, we find the Palace of Cansignorio, separate from that of Reason through archaeological excavations have brought to light flooring and Roman foundations. It was built in the second half of the fourteenth century on pre-existing early medieval dwellings and also was initially a tower-house with mighty defenses, enclosed central courtyard and a large walled garden. Crossing the sixteenth-century white marble portal leads to the Courtyard of the Court, in which there is the original holder of the Bombers and the entrance to the excavations Scala, an archaeological underground, where the remains of the ancient Roman roads and medieval buildings are the background for temporary exhibitions of the International Center of Photography.
Adjacent to the Palace of Cansignorio and almost concealed by the latter, in a corner of Piazza dei Signori you can see the small church of Santa Maria Antica, Roman place of worship especially loved by the Scala family, home on the portal of the stone sarcophagus I Can Grande della Scala, powerful son of the dynasty. Beside a wrought iron gate protects one of the most beautiful and evocative of the city, the Scaliger Tombs. It is a small private cemetery, monumental and spectacular, which houses the tombs of the first lords of Verona, together with the magnificent tombs of Can Grande, Mastino II and Cansignorio with their equestrian sculptures that rise into the sky in a sort of eternal tournament.
In front of the church of Santa Maria Antica, in the short side of Piazza dei Signori, stands the majestic medieval Palace of Can Grande. Built at the end of the thirteenth century is formed by an articulated complex of buildings that are developed on three sides around a rectangular courtyard, and leaves open the front facing St. Anastasia course. The facade on Piazza dei Signori is the most beautiful and majestic, adorned with a beautiful Renaissance portal reminiscent of Roman triumphal arches, built in 500 by San Micheli and surmounted by a winged lion, symbol of Venice, is formed by an arc to all sixth, adorned with four Ionic columns, coats of arms in intercolumniations and images of winged victories in the corners.
The monument that more than any other reminds the Roman origins of the city and its symbol worldwide. Every summer since 1913, its bleachers welcome six hundred thousand spectators of the world's greatest opera season The Verona Arena is a great amphitheater, the third largest among those left to us and the best preserved, although in 1183 a strong earthquake has destroyed the triple order of overlapping arches that surrounded him entirely. Today remains of that facing only a glimpse, a wing consisting of four bays which we can imagine the grandeur of the original appearance. Perfectly intact is instead the internal order, uninterrupted sequence consisting of 72 double stone arches that create an ellipse hundred and ten meters wide and one hundred and forty long.
Built in the first century A.D. with marble from quarries in the province, has internally an oval shape with a major axis of about seventy meters and a minor axis of forty-five meters. The large auditorium is formed by forty-five steps which have an average height of many centimeters.
During the years of the empire received numerous gladiatorial combats, cited by Pliny the Younger, and over the centuries hosted performances of all kinds: tournaments, jousts, duels, ballets, circuses and representations of prose. In the nineteenth century it was also used for hot-air balloon ascents and bullfights, which in 1805 also witnessed Napoleon Bonaparte.
Since the summer of 1913 hosts a grand opera season, commissioned by the tenor Giovanni Veronese Zenatello to celebrate the centenary of the birth of Giuseppe Verdi. The first opera to be performed on August 10 was Aida, the most spectacular of Verdi's operas and perfectly suited to the grandeur of the amphitheater, supported by a wonderful acoustics.
She was born the largest open-air opera season in the world and since then the number of spectators has always honored its inventors: every summer the arena is home to hundreds of thousands of spectators.
641 명의 현지인이 추천하는 곳
베로나 아레나
1 P.za BraThe monument that more than any other reminds the Roman origins of the city and its symbol worldwide. Every summer since 1913, its bleachers welcome six hundred thousand spectators of the world's greatest opera season The Verona Arena is a great amphitheater, the third largest among those left to us and the best preserved, although in 1183 a strong earthquake has destroyed the triple order of overlapping arches that surrounded him entirely. Today remains of that facing only a glimpse, a wing consisting of four bays which we can imagine the grandeur of the original appearance. Perfectly intact is instead the internal order, uninterrupted sequence consisting of 72 double stone arches that create an ellipse hundred and ten meters wide and one hundred and forty long.
Built in the first century A.D. with marble from quarries in the province, has internally an oval shape with a major axis of about seventy meters and a minor axis of forty-five meters. The large auditorium is formed by forty-five steps which have an average height of many centimeters.
During the years of the empire received numerous gladiatorial combats, cited by Pliny the Younger, and over the centuries hosted performances of all kinds: tournaments, jousts, duels, ballets, circuses and representations of prose. In the nineteenth century it was also used for hot-air balloon ascents and bullfights, which in 1805 also witnessed Napoleon Bonaparte.
Since the summer of 1913 hosts a grand opera season, commissioned by the tenor Giovanni Veronese Zenatello to celebrate the centenary of the birth of Giuseppe Verdi. The first opera to be performed on August 10 was Aida, the most spectacular of Verdi's operas and perfectly suited to the grandeur of the amphitheater, supported by a wonderful acoustics.
She was born the largest open-air opera season in the world and since then the number of spectators has always honored its inventors: every summer the arena is home to hundreds of thousands of spectators.
Originally it was called the castle of San Martino in Aquaro and is, after the Arena, the most grandiose and imposing monument of the city. Assumed its present name after the construction of Castelvecchio's Castle of St. Peter.
It 'a very large castle, which impresses with its imposing appearance and its shape is definitely military, accentuated by battlements along the walls and corner towers covered by the seven, in which the ancient residential use today is evidenced by the remains of the original fresco decoration visible in some rooms. Was erected between 1354 and 1357 by Can Grande della Scala II, that in an era of wars tumultuous sought to transfer his court in a safe manor.
The complex consists of two parts, divided by the imposing thirteenth-century walls. To the left, coming from Via Roma, is the Palace of the Scala family, protected by a narrow courtyard with a double row of walls. At the center stands the high main tower (the tower of the keep) from which soars over the river bridge Scaliger, with three arches, and fortified battlements, which integrates the defensive system of the castle, forming a magnificent example of fourteenth-century engineering. On the right side of the structure is a large rectangular courtyard, originally intended to parade at the center lies a curious fountain in the shape of dog, a symbol of fidelity Scala.
Miscellaneous ups were the vicissitudes of the castle, often used as a fortress. Under Venetian rule was intended to arsenal and garrison during the Napoleonic occupation was modified the structure and built the body of the building along the river, with the Austrians it was used as barracks for the troops of occupation. In 1923 he became a museum, home of civic art collections at the time held at Palazzo Pompei, and subjected to a first restoration. In 1943 it hosted the Verona process by which the leaders were sentenced to death who had done depose Mussolini and by the end of the war was damaged by Allied bombing.
From 1958 to 1964 Castelvecchio was the subject of a new restoration and redevelopment of a museum designed by the architect Carlo Scarpa, who with his speech has brought to light the original structures wherever possible, freeing them from the additions and highlighting the successive layers.
Today is also home to the headquarters of the Castelvecchio Museum in Verona with a picture gallery, a sculpture gallery and an art library, open to the public. One of the most important collections of Italian art.
256 명의 현지인이 추천하는 곳
카스텔베키오
2 Corso CastelvecchioOriginally it was called the castle of San Martino in Aquaro and is, after the Arena, the most grandiose and imposing monument of the city. Assumed its present name after the construction of Castelvecchio's Castle of St. Peter.
It 'a very large castle, which impresses with its imposing appearance and its shape is definitely military, accentuated by battlements along the walls and corner towers covered by the seven, in which the ancient residential use today is evidenced by the remains of the original fresco decoration visible in some rooms. Was erected between 1354 and 1357 by Can Grande della Scala II, that in an era of wars tumultuous sought to transfer his court in a safe manor.
The complex consists of two parts, divided by the imposing thirteenth-century walls. To the left, coming from Via Roma, is the Palace of the Scala family, protected by a narrow courtyard with a double row of walls. At the center stands the high main tower (the tower of the keep) from which soars over the river bridge Scaliger, with three arches, and fortified battlements, which integrates the defensive system of the castle, forming a magnificent example of fourteenth-century engineering. On the right side of the structure is a large rectangular courtyard, originally intended to parade at the center lies a curious fountain in the shape of dog, a symbol of fidelity Scala.
Miscellaneous ups were the vicissitudes of the castle, often used as a fortress. Under Venetian rule was intended to arsenal and garrison during the Napoleonic occupation was modified the structure and built the body of the building along the river, with the Austrians it was used as barracks for the troops of occupation. In 1923 he became a museum, home of civic art collections at the time held at Palazzo Pompei, and subjected to a first restoration. In 1943 it hosted the Verona process by which the leaders were sentenced to death who had done depose Mussolini and by the end of the war was damaged by Allied bombing.
From 1958 to 1964 Castelvecchio was the subject of a new restoration and redevelopment of a museum designed by the architect Carlo Scarpa, who with his speech has brought to light the original structures wherever possible, freeing them from the additions and highlighting the successive layers.
Today is also home to the headquarters of the Castelvecchio Museum in Verona with a picture gallery, a sculpture gallery and an art library, open to the public. One of the most important collections of Italian art.
On the opposite side of the center with respect to the residence "Il Vicolo". One of the masterpieces of Romanesque architecture in Italy, the Basilica of San Zeno is one of the most important buildings of the city. And 'dedicated to the eighth bishop of Verona, a saint of African origin that are attributed many miracles and the conversion of the Venetian populations.
The original building dates back to the fourth century, when a small church was built near the tomb of the saint. Elongated and enlarged in 1117 after the earthquake that struck northern Italy, was completed in 1398 and renovated in the ceiling of the apse in the Gothic style. The façade, tuff and marble features a large rose window, the work of Brioloto. Magnificent portal, a precious artifact coated with 48 bronze panels made between the tenth and twelfth centuries by different authors. There are scenes from the life of Christ and the Old Testament. On the sides of the portal deserve attention bas-reliefs of the twelfth century, with sacred and profane of biblical inspiration on King Theodoric.
To the right of the basilica stands a tower of 72 meters which reflects the style of alternating bands of tuff and brick, and which contains the oldest bells in Verona, merged in 1149. On the left the cloister and the crenellated tower, the last remains of a great Benedictine abbey. The interior of the church with a Latin cross plan with three naves, has a peculiar subdivision on three levels: the crypt is at the bottom, topped first by the Church Plebana and then by the Presbytery (or Upper Church) which is accessed by two staircases in marble. Particularly interesting are the baptismal font of the twelfth century, the great monolithic porphyry cup, placed on the left of the entrance, from the Roman Baths and the two wings of frescoes, made between two hundred and three hundred, which testify to the evolution of ' pictorial art in Verona.
The works are housed in the apse of greater value greater: the triptych by Mantegna depicting the Madonna Enthroned, and the great marble statue of San Zeno. Made in the thirteenth century, depicting the saint smiling good-naturedly while holding the pastoral staff from which hangs a fish. From the central staircase leads to the crypt, where he kept the body of the saint. Divided into nine aisles with arches supported by 49 columns (all with different capitals) is a pleasant mixture of styles and eras. The remains of the saint, whose face is covered with a silver mask, are kept in a glass case and wrapped in a bishop's dress.
The cloister is Romanesque in style and dates back to the twelfth century, composed of numerous small arches supported by coupled columns, contains ancient tombs, frescoes and a shrine which contained the wash of the friars.
142 명의 현지인이 추천하는 곳
산 제노 마조레 대성당
2 Piazza San ZenoOn the opposite side of the center with respect to the residence "Il Vicolo". One of the masterpieces of Romanesque architecture in Italy, the Basilica of San Zeno is one of the most important buildings of the city. And 'dedicated to the eighth bishop of Verona, a saint of African origin that are attributed many miracles and the conversion of the Venetian populations.
The original building dates back to the fourth century, when a small church was built near the tomb of the saint. Elongated and enlarged in 1117 after the earthquake that struck northern Italy, was completed in 1398 and renovated in the ceiling of the apse in the Gothic style. The façade, tuff and marble features a large rose window, the work of Brioloto. Magnificent portal, a precious artifact coated with 48 bronze panels made between the tenth and twelfth centuries by different authors. There are scenes from the life of Christ and the Old Testament. On the sides of the portal deserve attention bas-reliefs of the twelfth century, with sacred and profane of biblical inspiration on King Theodoric.
To the right of the basilica stands a tower of 72 meters which reflects the style of alternating bands of tuff and brick, and which contains the oldest bells in Verona, merged in 1149. On the left the cloister and the crenellated tower, the last remains of a great Benedictine abbey. The interior of the church with a Latin cross plan with three naves, has a peculiar subdivision on three levels: the crypt is at the bottom, topped first by the Church Plebana and then by the Presbytery (or Upper Church) which is accessed by two staircases in marble. Particularly interesting are the baptismal font of the twelfth century, the great monolithic porphyry cup, placed on the left of the entrance, from the Roman Baths and the two wings of frescoes, made between two hundred and three hundred, which testify to the evolution of ' pictorial art in Verona.
The works are housed in the apse of greater value greater: the triptych by Mantegna depicting the Madonna Enthroned, and the great marble statue of San Zeno. Made in the thirteenth century, depicting the saint smiling good-naturedly while holding the pastoral staff from which hangs a fish. From the central staircase leads to the crypt, where he kept the body of the saint. Divided into nine aisles with arches supported by 49 columns (all with different capitals) is a pleasant mixture of styles and eras. The remains of the saint, whose face is covered with a silver mask, are kept in a glass case and wrapped in a bishop's dress.
The cloister is Romanesque in style and dates back to the twelfth century, composed of numerous small arches supported by coupled columns, contains ancient tombs, frescoes and a shrine which contained the wash of the friars.
The largest church in Verona and the most important Gothic monument of the city. Work on its construction began in XXIII century, was completed in 1471.
Visible frescoes depicting the '400 SS. Trinity and the arrival of the Dominicans in Verona, the lintel floor is decorated with sculptures of the simple life of Christ, flanked laterally by two niches, with St. Catherine and St. Anastasia.
Fine the marble friezes with putti and floral motifs on the sides of the portal and the two panels on the right pilaster, depicting St. Peter Martyr.
The interior of the basilica is divided into three naves joined with vaulted ceilings, naves separated by twelve columns of white marble and red Verona with Gothic capitals with floral motifs.
At the base of the first columns of the nave you can see the two famous fonts supported by the humpbacks: both reminiscent of the Veronese people humble and lowly, with the faith that spurs the generosity of the rich, and is said to bring good luck to touch the hump them. The aisles of the church have a continuous row of large altars adorned with shovels, frescoes and sculptures from the fourteenth to the eighteenth century.
Among others, is to remember the altar Fregoso (XVI century) by Michele Sanmicheli, the altar of St. Thomas Aquinas (XV century), decorated with a piece of Girolamo dai Libri, depicting the Madonna and Child Enthroned and the saints;
Chapel Horses, with numerous frescoes of the fourteenth century, including the beautiful Virgin Enthroned dell'Altichiero, the Pellegrini Chapel, decorated with terra-cotta reliefs depicting scenes from the life of Jesus, and finally, the monument Seregno (XV century) with decorations Nanni di Bartolo and frescoes by Michele Giambono.
The church contains the famous and spectacular fresco St. George and the Princess of Antonio Pisano (Pisanello said): maximum expression of the international Gothic Verona, visible in the Pellegrini Chapel.
87 명의 현지인이 추천하는 곳
산타 아나스타시아 대성당
Piazza S.AnastasiaThe largest church in Verona and the most important Gothic monument of the city. Work on its construction began in XXIII century, was completed in 1471.
Visible frescoes depicting the '400 SS. Trinity and the arrival of the Dominicans in Verona, the lintel floor is decorated with sculptures of the simple life of Christ, flanked laterally by two niches, with St. Catherine and St. Anastasia.
Fine the marble friezes with putti and floral motifs on the sides of the portal and the two panels on the right pilaster, depicting St. Peter Martyr.
The interior of the basilica is divided into three naves joined with vaulted ceilings, naves separated by twelve columns of white marble and red Verona with Gothic capitals with floral motifs.
At the base of the first columns of the nave you can see the two famous fonts supported by the humpbacks: both reminiscent of the Veronese people humble and lowly, with the faith that spurs the generosity of the rich, and is said to bring good luck to touch the hump them. The aisles of the church have a continuous row of large altars adorned with shovels, frescoes and sculptures from the fourteenth to the eighteenth century.
Among others, is to remember the altar Fregoso (XVI century) by Michele Sanmicheli, the altar of St. Thomas Aquinas (XV century), decorated with a piece of Girolamo dai Libri, depicting the Madonna and Child Enthroned and the saints;
Chapel Horses, with numerous frescoes of the fourteenth century, including the beautiful Virgin Enthroned dell'Altichiero, the Pellegrini Chapel, decorated with terra-cotta reliefs depicting scenes from the life of Jesus, and finally, the monument Seregno (XV century) with decorations Nanni di Bartolo and frescoes by Michele Giambono.
The church contains the famous and spectacular fresco St. George and the Princess of Antonio Pisano (Pisanello said): maximum expression of the international Gothic Verona, visible in the Pellegrini Chapel.
The medieval Scaliger are one of the most picturesque sites in the city of Verona, a small private cemetery, monumental and spectacular, in which are preserved the tombs of Albert I, Alboin, Bartholomew, Mastiff Cangrande I and II, together with the great monuments funeral Cangrande I, Mastino II and Cansignorio, famous for their equestrian sculptures that rise into the sky like an endless tournament petrified. They are located just a few steps from Piazza delle Erbe and palaces Scala, on one side of the medieval church of Santa Maria Antica and almost opposite the house of Romeo.
Externally the site is protected by a massive fence Veronese stone topped by a fourteenth-century wrought-iron gate, formed by rings that encircle the heraldic symbol of the scale, supported by elegant marble columns topped by statues. The oldest tomb in the site dates back to 1277 and houses the remains of Mastino I, founder of the reigning dynasty. A little further on is the elegant coffin of his brother Albert I, finely figured on the long sides and flanks with images next to the deceased saints and marie, bas-reliefs and heraldic symbols.
Precious and elaborate is the tomb of Mastino II which is equipped with a small quadrangular enclosure, corner pillars on which rests statues of female figures depicting some of the Virtues.
The most majestic monument of the area is to Cansignorio: a grave with a hexagonal in which a dense forest of kiosks, spiers and statues give the appearance of elaborate Gothic reliquary. The rich sarcophagus, on which the statue of the deceased guarded by four angels, is decorated with bas-reliefs reproducing moments in the life of Christ. In addition rises a canopy, which is also hexagonal, on which stands the magnificent equestrian statue of Lord Scala, armed with a spear and wearing a knitted armor that leaves the face uncovered, in the attitude of the eternal challenge.
Outside the fence, over a door of the church of Santa Maria Antica, lies the magnificent tomb of Can Grande della Scala I, one of the major monuments of the Veronese sculpture of the fourteenth century. On the sarcophagus, located within a trefoil arch and supported by pairs of dogs bearing the heraldic symbol of the scale, it is surrounded by an Annunciation carved bas-reliefs depicting the cities conquered during his military campaigns, on the cover a statue that portrays him dying on a sheet by the astonishing verisimilitude. On the roof of the canopy is also present in this case an equestrian statue of the deceased, faithful reproduction of the original and now kept in the museum of Castelvecchio visible.
87 명의 현지인이 추천하는 곳
스칼리제르 가문의 무덤
4 Via S. Maria AnticaThe medieval Scaliger are one of the most picturesque sites in the city of Verona, a small private cemetery, monumental and spectacular, in which are preserved the tombs of Albert I, Alboin, Bartholomew, Mastiff Cangrande I and II, together with the great monuments funeral Cangrande I, Mastino II and Cansignorio, famous for their equestrian sculptures that rise into the sky like an endless tournament petrified. They are located just a few steps from Piazza delle Erbe and palaces Scala, on one side of the medieval church of Santa Maria Antica and almost opposite the house of Romeo.
Externally the site is protected by a massive fence Veronese stone topped by a fourteenth-century wrought-iron gate, formed by rings that encircle the heraldic symbol of the scale, supported by elegant marble columns topped by statues. The oldest tomb in the site dates back to 1277 and houses the remains of Mastino I, founder of the reigning dynasty. A little further on is the elegant coffin of his brother Albert I, finely figured on the long sides and flanks with images next to the deceased saints and marie, bas-reliefs and heraldic symbols.
Precious and elaborate is the tomb of Mastino II which is equipped with a small quadrangular enclosure, corner pillars on which rests statues of female figures depicting some of the Virtues.
The most majestic monument of the area is to Cansignorio: a grave with a hexagonal in which a dense forest of kiosks, spiers and statues give the appearance of elaborate Gothic reliquary. The rich sarcophagus, on which the statue of the deceased guarded by four angels, is decorated with bas-reliefs reproducing moments in the life of Christ. In addition rises a canopy, which is also hexagonal, on which stands the magnificent equestrian statue of Lord Scala, armed with a spear and wearing a knitted armor that leaves the face uncovered, in the attitude of the eternal challenge.
Outside the fence, over a door of the church of Santa Maria Antica, lies the magnificent tomb of Can Grande della Scala I, one of the major monuments of the Veronese sculpture of the fourteenth century. On the sarcophagus, located within a trefoil arch and supported by pairs of dogs bearing the heraldic symbol of the scale, it is surrounded by an Annunciation carved bas-reliefs depicting the cities conquered during his military campaigns, on the cover a statue that portrays him dying on a sheet by the astonishing verisimilitude. On the roof of the canopy is also present in this case an equestrian statue of the deceased, faithful reproduction of the original and now kept in the museum of Castelvecchio visible.
At the former convent of San Francesco al Corso, where there are Juliet's tomb and museum of frescoes dedicated to John the Baptist Cavalcaselle.
In the crypt, which is accessed from the east side of the cloister through a stone staircase, there is a red marble sarcophagus uncovered that traditionally hosted the mortal remains of the young Capulet. At the beginning of the fourteenth century to the dead suicide was not granted ecclesiastical burial, but in the case of Juliet authorities were no exception, consenting to the burial in that simple bed, even if devoid of coats of arms and inscriptions. It was in the sixteenth century, with the growth of the fame of the two lovers of Verona, the ecclesiastical authorities tried to eliminate the scandal, desecrating the grave, scattering the bones and transforming the sarcophagus into a container for the water well. Despite the neglect and abandonment of a wanted the legend continued to grow, and the tomb became a place of constant pilgrimages. He was honored by many famous people who went to Verona, in which Lord Byron, that "the tomb of Juliet, simple, open, with withered leaves around in the vast and desolate garden of a convent, it is sad sad as it was his love "and also by the Princess Marie Louise of Austria in 1822 (formerly Duchess of Parma and Piacenza), it did make some jewelry with fragments of stone taken from the sarcophagus.
When in 1842 the nuns left the convent, the tomb had fallen into oblivion. The English novelist Charles Dickens, during a visit to the chapel described it as a "watering hole" and was very annoyed that his lie abandoned in a vegetable garden.
It was only in 1937, as part of a vast work of museum display of the artistic heritage of the city, that the tomb was moved to the basement adjacent to the Cloister, where today it is visited by many tourists.
24 명의 현지인이 추천하는 곳
줄리엣의 무덤
5 Via Luigi da PortoAt the former convent of San Francesco al Corso, where there are Juliet's tomb and museum of frescoes dedicated to John the Baptist Cavalcaselle.
In the crypt, which is accessed from the east side of the cloister through a stone staircase, there is a red marble sarcophagus uncovered that traditionally hosted the mortal remains of the young Capulet. At the beginning of the fourteenth century to the dead suicide was not granted ecclesiastical burial, but in the case of Juliet authorities were no exception, consenting to the burial in that simple bed, even if devoid of coats of arms and inscriptions. It was in the sixteenth century, with the growth of the fame of the two lovers of Verona, the ecclesiastical authorities tried to eliminate the scandal, desecrating the grave, scattering the bones and transforming the sarcophagus into a container for the water well. Despite the neglect and abandonment of a wanted the legend continued to grow, and the tomb became a place of constant pilgrimages. He was honored by many famous people who went to Verona, in which Lord Byron, that "the tomb of Juliet, simple, open, with withered leaves around in the vast and desolate garden of a convent, it is sad sad as it was his love "and also by the Princess Marie Louise of Austria in 1822 (formerly Duchess of Parma and Piacenza), it did make some jewelry with fragments of stone taken from the sarcophagus.
When in 1842 the nuns left the convent, the tomb had fallen into oblivion. The English novelist Charles Dickens, during a visit to the chapel described it as a "watering hole" and was very annoyed that his lie abandoned in a vegetable garden.
It was only in 1937, as part of a vast work of museum display of the artistic heritage of the city, that the tomb was moved to the basement adjacent to the Cloister, where today it is visited by many tourists.