The Scaliger family (also known as Della Scala or Saligieri) of Verona was an influential one from the 13th to 14th century, ruling during this time period.
The family rose to prominence during the 11th century with their founder, Masstino I della Scala becoming the chief magistrate after the defeat and death of Ezzelino da Romano, a tyrant of Verona, in 1277. Succeeded by his brother Alberto and subsequently by Alberto’s son, Bartolomeo, it was during the latter’s reign that, according to tradition, Romeo and Juliet fell in love and died.
With such prestige in life, it is expected that in death, the members of this family would also be celebrated and entombed extravagantly so that others could pay homage for many centuries.
In many cultures, cemeteries exist so that the living can pay their respects to the dead. The Italian one is no exception, however, while some gravesites that Americans are familiar with are simple headstones, prominent families in Italy are entombed in elaborate mausoleums. These mausoleums of the Scaligeri are fine examples of the artistic talents put to use to show the wealth and power that the family held.
In Verona, the Scaliger tombs stand in the courtyard of the Church of Santa Maria Antica, which dates to 1185. While I was not sure what I was enroute to see, after spotting it on Google Maps a few blocks from Juliet’s House, it was certainly a landmark that I was glad that I had sought out. To say that the Scaliger tombs are elaborate would be an understatement!
Enclosed by an iron fence, it is easy for passersby to examine the tombs from afar. I assure you, however, it is worth the minimal entrance fee to enter the premises and see these monumental burial chambers up close and personal.
Entrance to the Scaligeri Tombs (doorway, left) and Santa Maria Antica (doorway, right)
Adjacent to the Piazza dei Signori, the historic central square of Verona’s Città Antica and other major attractions, the memorials invite visitors to understand the idea of the wealth and power of the Lords of Verona. While the funerary monuments are not plentiful, they are indeed breathtaking examples of Gothic art.
A handout, given to me by caretakers who also accepted my entrance fee, directed me around the small courtyard and I inspected each of the tombs which are located on the ground or on raised floors.
The tomb of Cangrande I Della Scala is placed above the portal of the church and is the first of the tombs that was built in the 14th century by his own will. The tomb is comprised of a tabernacle supported by embellished dogs and on the lid is the reclining statue of the deceased. The sides are decorated and on the top of the canopy, there is a copy of the equestrian statue of Cangrande I (the original is kept in the Castelvecchio Museum along with the funerary equipment).
Tomb of Cangrande I Della Scala
The ark of Mastino II, which was begun in 1345, had many design changes over the years. Originally painted and gilded, it is surrounded by a gate at the corners of which there are four statues of the Virtues. On the lid, there is a statue of Mastino II lying down and being watched over by two angels. There is an equestrian statue of Mastino II, a copy, of which the original being located in the Castelvecchio clock tower.
Theark of Mastino II
The ark of Cansignorio, which dates back to 1375, is the most elaborately decorated. Designed by Bonino da Campione, it depicts sculptures of warrior saints, characters from the Gospels, Virtues and Apostles and a large equestrian statue of Cansignorio.
The ark of Cansignorio
The sarcophagus of Albert I is a richly carved monument, constructed in 1301.
The sarcophagus of Albert ITomb of Bartolomeo ITomb of Alboino
The tomb of Mastino I is the oldest.
Tomb of Mastino I
The hanging ark by Giovanni della Scala is a work by Andriolo de Santi. It was finished in 1359 at the church of S. Fermo Maggiore, where it remained until 1400.
The hanging ark by Giovanni della Scala
This sarcophogi is the most ornamented in the lot. It was possibly commissioned by Alberto I in 1300 and might have been the first burial site for Cangrande.
Possibly the first burial site of Cangrande
After my inspection of the tombs was complete, I found the Church of Santa Maria Antica to be open on this day. This small church was originally linked with a convent founded in 744-745. In the 1200s, it became the private chapel of the Scaligeri family who then erected their famous sepulchre alongside the structure.
The Church ofSanta Maria Antica
Wandering in, I donned a shoulder covering given to me by one of the volunteers. The modest sanctuary was dimly lit and quiet and it didn’t appear that photographs were appreciated by the woman keeping a sharp eye on the visitors. While I was able to capture a couple undetected, as I was inspecting the 14th century frescoes in the central nave, I took a moment to nod my head in prayer before departing.
Santa Maria AnticaSanta Maria Antica
There were many places that I visited on my brief trip to Verona. It was interesting to realize, in retrospect, that so many of the places I had visited, had connections to the others. The Castelvecchio Museum contained some of original pieces of the Scaligeri tombs, which I had unknowingly inspected on my visit there earlier in the day, and later on, I had visited San Fermo Maggiore church which had held the hanging ark by Giovanni della Scala for many years. I had not known all of this prior to my visit, but only later, when doing some research.
While not a lengthy visit, take a few minutes to visit the Scaligeri tombs to comprehend the beauty and history of these funerary monuments and seek out their significance in the other landmarks of Verona.
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A visit to Verona is not complete until you visit the place immortalized in William Shakespeare’s tragic romance, Romeo and Juliet.
Well…
While tourists flock to the place labeled, “Juliet’s House”, pose with Juliet’s statue and stand on the balcony that they envision her to have used while declaring her love for Romeo, many forget that Romeo and Juliet only ever existed on the pages of some very well known literature.
Shakespeare’s fateful love story, first published in 1597, was preceded by Arthur Brooke’s poem, The Tragicall Historye of Romeus and Juliet, (1562), which in turn was inspired by older Italian writers, including Luigi de Porto and Matteo Bandello, who told the story of Romeo and Giuletta and the feud between their families. But, so enthralled by the literary tales, centuries of readers took to heart the story, some forgetting that it wasn’t actually based on real characters.
Seventy years ago, Antonio Avena, the director of the city’s museums, wanted to capitalize on that misunderstanding. He transformed the 13th century property of the Dal Cappello family into the home of the imaginary Juliet, after the house was purchased by the City of Verona. The idea was to give a physical location to the fictional story and a boost to Verona’s tourist industry. Extensive restoration of the home was eventually completed with a balcony, similar to that described in Shakespeare’s tale, added in the 20th century.
When tourists learned of this location and subsequently, the name of the original owners, the Cappellos, more commonly known as the Cappellettis, the natural progression was to associate that name with the last name of their heroine, Capuleti, leading them to believe that this really had been Juliet’s house. Flocking to the house in droves, they hoped to feel the emotions of Juliet and see the place that she called home.
As a visitor to Verona, while there was so much to see and do, I did make it a point to visit Juliet’s House since it is such a popular attraction. Approaching the courtyard through the entranceway, I was greeted by a large crowd gathered under the balcony and surrounding a statue of Juliet, by sculptor Nereo Costantini. Many people were awaiting their turn to pose with and rub their hand over the statue’s right breast…a gesture which is supposed to bring love and fertility. It is not known why this custom started, but in order to preserve the original, the courtyard statue was moved into the museum for safekeeping and replaced with a copy.
Entrance and courtyard
Courtyard statue of Juliet
Paying my entrance fee, I made my way through the museum space, both upstairs and down. Of course I took my turn on the balcony, posing for a photograph and spotted the original statue of Juliet, protected and well away from prying hands.
Original Statue of Juliet
The house has been restored and appointed much as it would have appeared during the time period in which the Dal Cappellos resided there, though there is no evidence of anything in the house that belonged to the family. There are, however, many references to the Romeo and Juliet story…a bust of William Shakespeare, copies of the story, Renaissance-era costumes and the actual bed used in Franco Zeffirelli’s 1968 film adaptation of the story. The rest of the furnishings and furniture are all genuine antiques from the 16th and 17th century.
Actual bed used in Franco Zeffirelli’s 1968 film adaptation of the story.Overhead view of courtyard
After my tour of the house was complete, I stepped back into the courtyard and noticed the red post box. Tourists used to leave letters tucked into the wall or stuck onto the bricks with chewing gum below the balcony, however, this practice was discouraged and the use of the box promoted. A movie I once viewed, Letters to Juliet, detailed an American tourist who finds an unanswered love letter shoved among the bricks. The story details the search for the intended recipient and the love story that results from it! These letters and those received from the mail do not go unanswered, however. Much like in the movie, a group of volunteers known as Club di Giulietta (the Juliet Club), replies to the more than 10,000 letters received annually, signing the responses, Juliet’s Secretary. Noticing through the small clear window on the front of the box, many letters that had already accumulated, I was glad to see that the tradition still continues.
With a quick glance around the museum’s gift shop, I found myself at the end of my tour. Stepping out of the gift shop with the intent to continue my day in Verona, I stopped and quickly stepped back inside. After a bit of searching, I purchased a pen and some paper, deciding that one day, I will use it to write a love letter to my own “Romeo”.
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While visiting Venice is an amazing experience, after having been there many times, one gets the itch to see other cities in the region. Having already taken the train to Padua a few years prior, I was planning on seeing some other nearby cities. On this particular day, however, realizing that we had arrived a little earlier than normal, I decided to venture out a little further…to Verona.
Verona is one of the main tourist destinations in northern Italy, situated on the Adige River and known as the setting for two of William Shakespeare’s plays, Romeo and Juliet and The Two Gentlemen of Verona. Because of its artistic heritage and opera season staged in its Roman amphitheater, it attracts millions of visitors each year.
Ruled by the della Scala family during the 13th and 14th century, the city was extremely prosperous during their reign and this wealth can be spied throughout its boundaries today; in its monuments, walls and architecture and more. While I was aware that many tourists head straight to Juliet’s House and Museum, one of the most famous places in the city, I decided to do this as well, but also to see the other aspects that make this UNESCO World Heritage Site so special.
After the hour and ten minute train ride, I quickly ducked into a station shop to purchase a face mask for the return trip or for any other attraction which might require it. During my train ride, I had realized that KN95 face masks were still required on public transportation when conductors removed five British travelers at the stop prior to Verona’s Porta Nuova station. While I had a regular surgical mask, I realized that it was not enough and was thankful that I went unnoticed.
Verona Train Station
Thankful that crisis had been averted, I set out to walk to the city center, first stopping at the Porta Nuova (https://snappingtheglobe.com/?p=30718), the city’s old gate. Stopping for a few photos, I then continued on Corso Porta Nuova past Giardini Pradaval and its sculptures and statues, the Lapidary Museum Maffeiano and I Portoni della Bra the historic gate that once divided the city from the countryside and connects the Porta Nuova railway station to Piazza Bra. While I felt welcomed by the city gate Porta Nuova, it was when I walked through the arches of I Portoni della Bra that I felt as though I was truly entering the city and readied myself for the city’s beauty.
Porta Nuova GateGiardini PradavalLapidary Museum Maffeiano
I Portoni della Bra
I Portoni della Bra
Having planned to see the amphitheater, I decided to take a detour and walk toward the river and the Castelvecchio Museum, since its opening hours were fewer. Making my way across its intimidating drawbridge into the courtyard, I then headed inside to make my way through its major Italian art collections distributed over twenty-nine rooms. Sculpture, paintings, ancient weapons, ceramics, goldsmiths, miniatures and ancient city bells were artfully displayed throughout the castle which dates back to the mid 1300s. While it was built as a residence for the della Scala family, it was mainly used for the military defense of the city and that is evident by its towering walls and battlements.
Castelvecchio Exterior
Castelvecchio Entrance
While I enjoyed my walk through the castle’s interior, what I really wanted to do was investigate the courtyards, the battlements and the clock tower. Climbing up the stairway, I made my way first to the rear of the castle and was rewarded with stunning views of the river and the Scaligero Bridge. It was a beautiful day and being out on the walls was the perfect place to be! Some of the passageways were a bit narrow but easy to navigate and to reach the seven towers. From the front of the castle, the views of the city, the large courtyard, the clock tower and the small courtyard beneath the tower were so stunning that I could have stayed up there all day. Finally, I passed through the adjacent walkway to the bridge and took a quick stroll across so that I could say “I did”.
Scaligero Bridge
If I was going to see everything, however, it was time to move on and I decided to continue my path along the Corso Cavour, which follows the river. A short stroll later, I passed the Arco dei Gavi, a massive, ancient white-marble arch which was was used as a gate in the walls during the Middle Ages. During the Napoleonic rule, French engineers demolished it and its ruins were moved to a square and then to the arena. In 1932, the arch was reconstructed, under Mussolini’s rule, in its current spot next to the Castelvecchio, very near its original location.
Arco dei Gavi
A little further down the road, I happened upon the Basilica di San Lorenzo. As I always make time for a church, I spent a few moments walking through this 12th structure. Built in the Romanesque style on the remains of a 5th or 6th century paleo-Christian building, using some of the original materials, it was interesting to see the two different types of building materials stemming from the different phases of construction…alternating brick and stone which gives the interior a striking pattern of strips in the columns and the walls and apse. Listening in to a tour guide’s spiel, I also learned that a unique feature is the presence of the women’s galleries, still intact and open onto three sides. Though my stop was a quick one, I was glad to see this beautiful church.
Chiesa di San LorenzoChiesa di San LorenzoChiesa di San LorenzoExteriorChiesa di San LorenzoChiesa di San LorenzoChiesa di San Lorenzo
Near the Ponte della Vittoria, I decided to move into the city center as there was more to see in that domain. A few minutes later, I passed under the impressive Porta Borsari, the arched limestone gate, which dates back to the 1st century and served as the main entrance to the city.
Porta Borsari
There were many more churches, including the Church of St. Eufemia; some open, some closed for the afternoon, and as I spied many balconies, I thought of Juliet’s House, which I had planned to visit…whenever I got there! But of course, there was so much to see along the way!
Other churches in Verona
Glancing at my watch, I decided to snatch a few moments at the Church of San Giovanni in Foro. A minor church, it was built on what was the main Roman road. Badly damaged by fire in 1172, while much of Verona was destroyed, its restoration in the early 1900s led to the discovery that Roman walls had been incorporated into the external walls of the church. It was small and dimly lit, but its beautiful mosaics, stone walls and ancient paintings made me glad that I had stumbled upon this gem.
Church of San Giovanni in Foro
Church of San Giovanni in Foro
Continuing on, I finally made my way to the beautiful Piazza delle Erbe, which was once the center of the city’s political and economic life. There were many market stalls hawking souvenirs and food, but there were lots of statues, fountains and other landmarks to see. More importantly, the square is surrounded by many buildings and monuments that have marked the history of Verona…City Hall, Lamberti Tower, the Houses of Mazzanti, Maffei Palace, the Gardello Tower and the Casa dei Mercanti (Merchant’s House). What I loved most, however, was the ancient fountain (circa 1368) with its roman statue, Madonna Verona, built by Bonino da Campione, which stands proudly in the center of the square and welcomes visitors to investigate its history.
Piazza delle ErbePiazza delle ErbePiazza delle ErbeMadonna VeronaPiazza delle Erbe
My goodness…what wasn’t there to see? I love everything about Rome and its “in your face architecture”, but the simplicity of Verona with the minor details that begged you to slow down and savor it was unlike anything I had ever experienced in Italy. Everywhere I laid my eyes, there was stunning construction, architectural details on every building, including balconies upon which other Italian ladies, like the fictional Juliet, may have stood, conversing down to their young paramours.
Finding my way to the Scaliger Tombs, I decided that I needed to enter the premises so that I could see these stunning tombs at close range. After paying my entrance fee, I was given a handout to guide me through the small courtyard. Each of the elaborate tombs were unique and some just outright ostentatious. While passerby could get a glimpse through the iron bars of all of the tombs, I thought it much better to see their beauty unobstructed.
Scaliger Tombs
These five funerary monuments celebrate the Scaliger family who ruled in Verona from the 13th to the late 14th century. Located in a wrought-iron fenced enclosure of the church of Santa Maria Antica, these Gothic tombs were constructed for the wealthy members of the noble Scaliger dynasty who ruled as the Lords of Verona; Cangrande I, Mastino II, Cansignorio, Alberto II and Giovanni.
Scaliger Tombs Scaliger Tombs Scaliger Tombs
The church was open and I was given a covering for my shoulders as I entered. The modest sanctuary was dimly lit and quiet and it didn’t appear that photographs were appreciated by the woman keeping a sharp eye on the visitors. While I was able to capture a couple undetected, as I was inspecting the 14th century frescoes in the central nave, I took a moment to nod my head in prayer before leaving.
Santa Maria Antica
Finally, next on the list was the famed Juliet’s House, a short walk away. As expected, after walking through the short corridor to the courtyard, I found it extremely crowded with other visitors. Everyone was jockeying for position and waiting for their chance to pose with the bronze statue of Juliet. Noting the balcony above, and those also posing there for photographs, I figured out which door to enter to pay my admission.
Juliet’s House
Juliet’s House
Inside, there were statues paying homage to Shakespeare, another bronze statue of Juliet, period furniture and the bed and Renaissance costumes from Franco Zeffirelli’s 1968 film version of Romeo and Juliet. The wooden floors and artfully decorated ceilings were extremely cozy, although very roomy, depicting the wealth of the Capello family (from which the name Capulet was derived). Eventually, I was able to step out onto the balcony and also pose for a photo, but I was interested to find that even though the house dates back to 13th century, the balcony was only added during the 20th century.
Juliet’s HouseJuliet’s HouseJuliet’s House
On my way out, I noticed the red mailbox, which collects the letters “to Juliet” from visitors. Remembering the 2010 movie Letters to Juliet, I smiled at the messages visible in the small window in the center, glancing around, wondering where the women who volunteer to answer them were.
Just up the road, I happened upon Porta Leoni, the ancient gate that was built during the Roman Republic and features a double façade and two towers. Adjacent, below the street level are amazing Roman excavations.
Porta Leoni
The afternoon was dwindling away and although I had seen so much during my afternoon visit to Verona, I still wanted to see the amphitheater. Deciding to walk along the river in order to make navigation back to Corso Porta Nuova a little easier, I was stopped in my tracks by an imposing church on the corner.
Chiesa di San Fermo Maggiore.
Chiesa di San Fermo Maggiore
Chiesa di San Fermo Maggiore
Oh, I was here and I couldn’t resist, so I went in, hoping I had enough time for everything else on my list…namely the amphitheater. The church was still open and I paid my admission, following the handout offered to me, which guided me to both the Upper and Lower churches.
Chiesa di San Fermo Maggiore
Chiesa di San Fermo Maggiore
Starting with the Lower church, I traversed the ancient staircase to reach the first and oldest cloister of the complex. Here, I marveled at the decorated ribbed vaults and frescoed columns which divided the space. Of particular note was the early 14th century fresco depicting the Virgin seated on a throne with baby Jesus and a 12th century fresco of the Baptism of Jesus. There is a tombstone of jurist Antonio Pelacani, who died in 1327, showing him teaching his students and another of scholar Master Omobono, built in 1330. In the presbytery, there is a wooden crucifix from the 14th century and in the right transept, the stone upon which saints Fermo and Rustico were beheaded.
Lower ChurchLower ChurchLower ChurchLower ChurchLower Church
Back upstairs in the Upper church, I found it to be a massive and towering space. Again, crumbling frescoes decorated the walls and a large wooden door was topped with a fresco of the Crucifixion of Christ. The single nave church contained five apses and of particular interest was the Della Torre altar, from the 18th century, Our Lady’s Chapel (1613), which contains a some significant paintings and the presbytery with its marble altar, created by Schiavi, on which the relics of Saints Fermo and Rustico are kept.
Upper ChurchUpper ChurchUpper ChurchUpper ChurchUpper ChurchUpper ChurchUpper Church
There were many tourists here and there was so much to see in the Upper Church that I spent much more time here than I had anticipated. As I finally exited San Fermo, I regained my routing along the river to head back toward the center of the city where the amphitheater was located. Taking much longer than I had anticipated, along with the heat of the afternoon slowing me down, I realized that I had maybe need to check the train schedule. I was still a ways from the train station and just over an hour away from Venice. As I realized that if I didn’t make the next train, I would be arriving into the Mestre station pretty late and I still needed to keep in mind dinner and the 20 minute walk back to my hotel. Upper ChurchThere were many tourists here and there was so much to see in the Upper Church that I spent much more time here than I had anticipated. As I finally exited San Fermo, I regained my routing along the river to head back toward the center of the city where the amphitheater was located. Taking much longer than I had anticipated, along with the heat of the afternoon slowing me down, I realized that I had maybe need to check the train schedule. I was still a ways from the train station and just over an hour away from Venice. As I realized that if I didn’t make the next train, I would be arriving into the Mestre station pretty late and I still needed to keep in mind dinner and the 20 minute walk back to my hotel.
Sadly, I had saved the amphitheater for last and it was not meant to be.
This time…
With so much to see in Verona, I was impressed with what I had undertaken and experience in a single afternoon. As there is much more enjoy in Verona, I realized that I would definitely return in the near future.
Pulling my KN95 mask from my bag…it was time to make that train.
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Hours: Tuesday to Sunday, 1000 to1800. Last entrance at 1715. Closed Mondays, December 24, January 1.
Admission: Adults, €6.00 (+ €.60 online presale), Children (ages 8-14 years), €1.00 (+€.10 online presale). Free admission for residents of 65 years in the Municipality of Verona, persons with disabilities and their companion, children up to 7 years, holders of the VeronaCard.
Hours: Monday to Friday, 1100-1800, Saturday, 0930-1800, Sunday, 1300-1800
Admission: Single entry €4. Entry to four churches, San Fermo, San Zeno, Cathedral Complex and Santa Anastasia, Basilica of San Zeno, the Cathedral Complex, the Basilica of Santa Anastasia, €8
No matter where you go in Italy, you will find celebrated cities filled with stunning architecture, monumental landmarks and bustling piazzas. Some cities are mere blips on the map and others more well known.
Having stayed in Venice so often and walked its alleys, crossed its bridges and traversed its canals, I felt as though it was time to venture out further and see those nearby cities, a brief train ride away.
On a recent trip, we had arrived in Venice much earlier than usual. Deciding to take advantage of this early morning accession, I checked the train schedules and decided to make the hour long journey to Verona.
Having studied the city’s map, I learned that there was so much to this city than its ties to Shakespeare’s Romeo and Juliet and I decided that I was going to navigate its streets and landmarks on foot, so that I could take in every detail.
Arriving at the city’s main train station, Porta Nuova, I set out to make my way to Verona’s historical center. Following my GPS’s directions, the first thing I encountered was Porta Nuova… Yes, I had just departed the train station, Porta Nuova, but there was another.
Built between 1532 and 1540, the city gate of Porta Nuova was built under the direction of architect Michele Sanmicheli, replacing the ancient Porta di Santa Croce, with the sideways of the gate being added by the Austrians in 1854.
The gate was constructed to encourage access to the city and I thought it befitting that it was the first thing I encountered when seeking out the historical section of Verona. Only one of two remaining gates in the city, it offered entrance from the south and was an important element of the city’s fortifications.
While, the gates’ arched doorways were barred off, I was able to look inside, through the openings and inspect the surrounding premises. The facade’s details have been restored and the structure is topped with the Italian flags.
The stop at Porta Nuova was not one I had planned, but rather merely encountered on my route to other attractions in the city center. However, it was a beautifully restored and maintained architectural piece of Verona’s past and I was glad that it was there to welcome me as it had done to countless others over the centuries.
If there was more like this to come…I couldn’t wait to see what else was in store!
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Porta Nuova
Address: Corso Porta Nuova, 1, 37122 Verona VR, Italy
