The way back into the town leads either across the modern iron bridge called after Garibaldi, or by that known as the Ponte della Pietra, a magnificent example of Roman work, and one of the most picturesque bridges in Verona. The two arches towards the hill are of recognised Roman construction; the rest leading into the town and towards the tower on that side erected by the Scaligers, is said to be the work of Fra Giocondo in 1521. Soon after crossing the “Pons marmoreus,” as it was also called, we come to an old house at the bend of the road and facing the bridge which has a fresco painted under the eaves depicting the wares sold in the shop below, among which may be seen a bunch of tallow candles tied by their wicks and suspended on high--a practice familiar enough among ourselves. The painting was done in the “cinque cento,” and the trade of “wholesale grocer” goes on in the building to-day as it did some five centuries ago. In the Via Cappelletta, that opens out from the Via Ponte Pietra, is a house which claims to have been that of the Capulets--a claim that has no foundation, and that perhaps has only been raised in order to entice the passer-by to go in to see a very pretty courtyard, which certainly deserves a moment’s glance if the inspection of the many sights of “Veronetta” has not exhausted all our powers of endurance. CHAPTER XI _Sant’ Eufemia_--_Porta dei Borsari_--_S.S. Apostoli_--_S. Lorenzo_--_S. Bernardino_--_Sta. Trinità_--_Tomb of Romeo and Juliet_--_Ponte Rofiolo_--_Piazza Brà_ The church of Sant’ Eufemia may be reached either by following the broad open way of the Lungadige Panvinio, or by proceeding along the Corso Porta Borsari and turning up to the right. The church, of Gothic style, dates from the thirteenth century, but it is much spoilt internally by modern restorations. The façade is imposing, and each side of the door is flanked by a tomb: that on the right being a grand sarcophagus of the fourteenth century of red Verona marble to the Cavalcani-Bandi family; the one on the left, of the sixteenth century, by San Micheli, to the Counts Lavagnolo. There is also some more of San Micheli’s work to be seen close to a lateral door on the south side in the shape of a monument to the Verită family; while over this same door is a fresco by Stefano da Zevio. San Micheli was also the designer for the cloister of this church. Inside, the building strikes one as cold and poor. There are though some good frescoes by Caroto and Domenico Brusasorci, and an altar-piece by this latter of the Madonna in glory may certainly rank among his best works. In the Spolverini Chapel (to the proper left of the high altar) are some very interesting frescoes by Caroto “representing the story of Tobias, in which the compositions are skilfully balanced, the personages natural in movement and expression, and the colouring especially entitled to commendation.”[59] [Illustration: BALCONY IN VIA S. EUFEMIA]