Whatever the date of the frescoes they betoken different periods from their style, the earliest being of a crude, primitive nature that make one at first more inclined to smile than to admire. Those of the second period--among them being our Lord’s Baptism in Jordan--have a less comic appearance, while one and all bear traces of the Roman influence which permeated into the works of art carried out by the invaders of Italy in the land of their adoption. The church of S. Nazzaro consisted originally of five aisles. The restoration brought about in 1510 reduced it to three, and though not as imposing as it must formerly have been, there is a dignified and religious feeling in its present character which suits the traditions that haunt its neighbourhood and hallow to this day the fine Renaissance building. There are many good paintings in the church; in the transept on the right are two panel paintings by Bartolomeo Montagna of St John the Baptist, and of SS. Nazzaro, Celso and Benedict; and in the sacristy there is a Pietà, and a S. Biagio and Sta. Giuliana also by him. (It is impossible not to utter a protest against the state of neglect and decay into which most of the frescoes in this church have fallen, and to hope that some effort may be made to preserve them ere it is too late.) In a beautiful old frame over the altar of S. Biagio is a grand work by Francesco Bonsignori; while in the predella below are some lovely miniatures by Girolamo dai Libri. The dome is decorated with frescoes, all by Falconetto, except the “Annunciation” over the principal door which is by Cavazzola--a fine bit of work. There are more works by this master, as well as others by Brusasorci, Falconetto, Badile, Torbido, and Farinata. Indeed most of the best known Veronese masters have left some evidence of their work in this out-of-the-way church; would that the Veronese of to-day would show themselves worthier of the treasures bequeathed to them by their ancestors, and provide at least for their preservation! Not far from here after two or three turns to the left rises the church of St Thomas of Canterbury. The doorway is a fine example of Italian Gothic, and some interesting inscriptions beside it relate how the piety of two women of the Stagnolo family contributed towards the work of the façade. Inside the church are some frescoes by Brusasorci; and before the altar of Sta. Maria Maddalena lie the mortal remains of the architect San Micheli, to whom Verona owes so much, and whose work, though so pre-eminently famed for fortified buildings and all relating to military constructions, is admirable in secular and ecclesiastical edifices as well. Wandering through this part of Verona the eye is often arrested by frescoed palaces and houses of marked architectural beauty and merit, among them being the Casa Barbarani; the Seminario Vescovile; and other houses belonging to private individuals. In the Via [Illustration: WINDOW AND BALCONY IN VIA SEMINARIO]