Few of the other rooms have anything of interest or merit in them, though in No. IX.--when not closed--are to be seen some of the medals of Vittore Pisanello; and a fresco by Cavazzola, brought here from the church of SS. Nazzaro and Celso. There is also a fine fresco in Room XII. by Francesco Morone, of the Madonna with saints, that shows great power of grouping. This was originally on the exterior of a house near the Ponte delle Navi, and was brought here for preservation. Layard says: “A charming specimen of his (Morone’s), warm, rich colouring, and delicate and graceful sentiment was, until recently, to be seen in a fresco of the Virgin and Child and saints, on the façade of a house near the Ponte delle Navi at Verona, dated 1515, which added much to the picturesque beauty of the site. It has unfortunately been transferred to canvas, suffering irreparably in the process and by clumsy restoration, and is now a mere wreck in the public gallery.”[52] Here, too, are some frescoes by Martino da Verona, by Giolfino, and by Caroto, and with a glance at them the visit to the picture gallery may be brought to a close. CHAPTER X _S. Paolo di Campo Marte_--_SS. Nazzaro e Celso_--_The Grotto di S. Nazzaro_--_St Thomas of Canterbury_--_Giardino Giusti_--_Sta. Maria in Organo_--_S. Giovanni in Valle_--_Teatro Antico_--_SS. Siro e Libera_--_Castle of Theodoric_--_S. Stefano_--_S. Giorgio in Braida_ THE left bank of the Adige lies in that part of the city known as “Veronetta,” where several churches are scattered at no wide distances the one from the other; some small and of but meagre interest, others striking both from an historical and artistic point of view. After passing the church of S. Paolo di Campo Marte, where Paolo Farinato lies buried, and where are to be seen works by Girolamo dai Libri, by Paolo Veronese and others; and leaving the little church of S. Giacomo in the Via XX. Settembre, we eventually arrive at the church of SS. Nazzaro e Celso. The external aspect of this church, dating from the eleventh century, is more imposing than the interior which was restored in 1510. Before visiting the church it will be well to go first to the Grotto of S. Nazzaro, a small chapel excavated out of the “tufo,” and in which the early Christians met to worship. The walls were evidently once all covered with frescoes, and many traces yet remain which have given rise to much discussion, and about whose date and execution opinions are still divided. Some writers claim for these paintings an epoch as remote as the sixth century, and ascribe them to the period when the Ostrogoths ruled in Verona. Others again say that the very oldest of the paintings are not prior to the year 996, while the latest belong to the eleventh century. There is no doubt whatever that the church or grotto is of far older date than the paintings on the walls; and the historical interest centring around the spot can on no account be called in question.