Over the doorway of the main entrance--a door by the way very rarely opened, and to get into the church one must go to the one on the left hand side--is a fresco of the Crucifixion, ascribed first to Cimabue, then to Giotto, and though by neither of them, is at the same time the work of some very early master. To the left of this entrance, and above an ugly mausoleum to the Brenzoni family, is a most beautiful fresco by Vittore Pisanello, and according to Layard, his only fresco-painting, besides the one at St Anastasia, yet remaining in Verona. The subject is the Annunciation, very gracefully and effectively treated, and with some very beautiful architectural drawing around the Madonna. Further on are more frescoes of the fourteenth century, which have not been long discovered, among them being a striking one of the Crucifixion. Close by is the Chapel of the Sacrament, where hangs the masterpiece of Gian Francesco Caroto. It is described as follows by Layard:--“His (Caroto’s) best existing work is an altarpiece in the church of S. Fermo Maggiore (Verona), representing the Virgin and Child and St Anne in glory, with four saints [Illustration: CHURCH OF S. FERMO MAGGIORE THE MADONNA AND CHILD AND ST ANNE IN GLORY, WITH OTHER SAINTS BELOW (G. FRANCESCO CAROTO)] beneath, signed and dated 1528. It is grandly conceived, powerful in colour, giving the impression that he had seen and been influenced by Bernardino Luini; the Madonna is a beautiful woman with a tender and gentle expression; the Child less pleasing; the heads of SS. Roch and John are especially fine.”[49] The fresco over a small door leading into the Torriani chapel is by Francesco Bonsignori, signed and dated 1484; and inside the chapel is the tomb raised by Girolamo della Torre, and said to be one of the most precious works of art preserved in S. Fermo. This may doubtless be so for those who first of all are fortunate enough to find some means whereby they can obtain sufficient light to view this treasure; and who secondly are content to be put off with copies of the original. For the bronze bas-reliefs which once decorated this tomb were carried off to Paris, where they are still preserved at the Louvre, and copies supplement the place they once filled. What is left is however pronounced by all who have seen it to be of great merit, and worthy of the designer and artist, Andrea Riccio of Padua.