The road to S. Zeno leads straight past the Castel Vecchio; and away from the noise and bustle of the town we approach one of the finest examples of a Romanesque church to be found in the whole of Northern Italy. A quiet dignity and simplicity may be said to be the characteristics of this glorious basilica both within and without; while the blending of pagan antiquity and Christian feeling has brought about a harmony in expression and construction that is very impressive. Tradition has it that King Pepin, Charlemagne’s son, was the founder, but no document exists to prove this, though the belief that it was begun about the year 900, and that its erection was gone on with for two succeeding centuries, has much to support it. It is certain that the Emperor Otho I. of Germany on his way to Rome through Verona sojourned for a while at the monastery of S. Zeno, and left a large sum of money with the Bishop Rathold towards the fund for the completion of the church. There is not a corner of S. Zeno that is not of interest, and this begins with the west front, with the portals, and with the doors, each one claiming in turn its meed of praise and admiration. The church has been enlarged and restored, but nevertheless it retains its noble proportions intact, and modern works have done little to injure the plan and construction of the building. The façade is embellished with bas-reliefs, carved in the yellow stone of the country, and taken from legendary and sacred subjects. In the right hand corner the legend of King Theodoric is represented, for it is supposed that he is the warrior here at the chase, pursuing the stag which cannot be caught, and in whose pursuit the hunter rides on till he reaches the gates of hell. The sculptures are rough and uncouth, but full of life and movement, and were executed in the year 1139 by Wiligelmus and Nicolaus, this latter being the same artist whose work has already been noticed at the Duomo. The round window above the portal stands for the wheel of fortune, with figures in different attitudes to express the moods of the changeable goddess. On the outer circle is engraved in leonine lines:-- “En ego Fortuna moderor mortalibus una, Elevo, depono, bona cunctis vel mala dono.” which may be loosely rendered-- “Behold, I, Fortune, I alone bestow on mortals, I raise, depose; to all I give or good or evil gifts.” On the inner circle is written:-- “Induo nudatos, denudo veste paratos, In me confidit si quis, derisus abibit.” “I clothe the naked, despoil from those in garments clad, If anyone in me confides, derided will he go from hence.”