Several interesting examples of the Veronese school are to be found in this church. In the chapel after that of the Delia Torre family is a good “Adoration” by Orbetto, fine in tone and colour, though the grouping is a little confused and overcrowded. In the chapel dedicated to St Anthony is a picture by Liberale of “St Anthony in Glory,” showing, according to Mr Selwyn Brinton, the improvement gained by him after he came “under the influence of the mighty Mantegna, when a greater conception of art seems to strike him.”[50] In one of the chapels beside the high altar is a fine Crucifixion by Domenico Brusasorci. The Alighieri chapel is more or less on the lines of the Arco de’ Gavi, and was erected by Francesco, the last lineal male descendant of Dante, who with two or three other members of the family, is buried here. The picture over the altar is by Battista del Moro. A fact that is of botanic interest is to be met with here in the epigraph below the organ to Francesco Calceolari. He was the first botanist who ever made his mark in Verona, and his name at all events suggests some connection with the flower whose gaudy colours were once in such request for the bedding-out garden. Immediately below the sacristy is the marble sarcophagus erected by the citizens of Verona to the memory of Torello Saraina, who, as has been said, wrote the first printed history of the town, and whose opinion and authority on Veronese antiquities and monuments is of great weight and value. The Saraina chapel standing beside the tomb was erected by the historian himself, and dedicated by him to the Trinity, to the Virgin, and to the Archangel Raphael. It contains a fine painting by Torbido over the altar, a Madonna and Child in the clouds, with the Archangel and Tobias below. According to Morelli, this work makes Torbido worthy to be compared with the elder Bonifazio. The coffin containing the ashes of Saraina was probably removed to the side (where it stands resting on two turrets of marble) when the chapel was arranged for the celebration of the Mass. Saraina died May 8, 1550. That he was a patron of art as well as a man of letters is proved by the fact that not only did he order the fine picture painted by Torbido for the Saraina chapel, but that the house he inhabited in the Via della Stella was also by his desire decorated with frescoes by the same master. The pulpit is a beautiful bit of fourteenth century work. It is rich in marbles, and has many good designs surmounted with frescoes that for many years were supposed to be the work of Stefano da Zevio. Recent investigations, however, have proved them to be by Martini, whose signature upon them has also come to light.