. The story of Verona . is a fine figure of a pilgrim (a play upon thefamily name, and emblematical of their badge), whokneels in the corner with his hands clasped fast in most precious thing in this chapel was a fresco byPisanello, which fortunately is now being removedfrom a position where it could not be seen, and, worsestill, where it was suffering from damp, to a place ofsafety in the sacristy. It represents St George aboutto mount his steed after he has slain the dragon andfreed the princess.^ On the proper right of the high altar is a largeequestrian statue of C
. The story of Verona . is a fine figure of a pilgrim (a play upon thefamily name, and emblematical of their badge), whokneels in the corner with his hands clasped fast in most precious thing in this chapel was a fresco byPisanello, which fortunately is now being removedfrom a position where it could not be seen, and, worsestill, where it was suffering from damp, to a place ofsafety in the sacristy. It represents St George aboutto mount his steed after he has slain the dragon andfreed the princess.^ On the proper right of the high altar is a largeequestrian statue of Cortesia Serego (1432), who wasthe brother-in-law of Antonio della Scala, and alsohis general. The florid decorations around the statueare of carved wood. The frescoes round that againare probably by Francesco Bonsignori, while those stillhigher up are sometimes ascribed to Stefano da Zevio ^ Since the above was written it has now (April 1902)been replaced above the chapel; but so high up as to beseen with TTyTLC^^/y^rV/tAv V -v--^v MADONNA AND SAINTS, ST ANASTASIAASCKIBEU ALIKRNATELV TO FKANCKSCO MOKONE AND GIROLAMO DAI LIBRl 167 Sanf Ajiastasia (1332). The adjoining chapel owned by the Lavagnolifamily, though also known as that of St Anna, containssome frescoes, unfortunately much injured, in the styleof Mantegna. The next chapel, that of the Salernofamily, where there is a fine Gothic monument toGiovanni Salerno, is used as the belfry. What withthe mass of hanging ropes, and the storage of churchfurniture that lumbers up most of this chapel, it is noteasy to form a right opinion of some line old frescoessaid to belong to the first half of the fourteenthcentury, or to do more than lament the bad conditionin which they are kept. In the sacristy stands therescued fresco of St George by Pisanello, and a finepicture by Felice Brusasorci, while outside the sacristyare some frescoes by an unknown hand sadly retouchedwith startling colours. In the Capella del Rosario
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Keywords: ., bookcentury1900, bookdecade1900, booki, bookpublisherlondonjmdent
