The archways leading into the crypt are formed of perfect semicircles (of Roman as opposed to Byzantine shape) and contribute largely to the effect by which this low-lying and generally concealed portion of the church is brought into prominence. The pillars and columns in the crypt support a vaulted roof, through which some of them pierce into the choir above and carry on here the work begun on the lower floor. Some of these columns are very graceful, and would almost seem like feathers rising from the blocks of solid stone and masonry which are placed at limited intervals about the crypt. The capitals of these columns differ one from another; here and there they are quaint, not to say grotesque; others again are plain and classical, while one and all are in keeping with their surroundings, and bear witness to the love and skill that planned and placed them there. There are frescoes too upon the walls and about the columns, some very Byzantine in feeling and execution, some approaching again to the Giottesque period. Several saints and bishops are buried here--a solemn burial-place, and fitting for those who were the first to toil in the vineyard of souls at Verona, and whose earthly remains now rest from their labours in the beautiful crypt of S. Zeno. The sense of religion and devotion is enhanced by hanging lamps which cast an uncertain flickering light on the scene, and intensify the effect of shadow and shade that is thrown by the “shafts of shapely stone” clustering on every side. In the middle of the crypt stands the tomb of S. Zeno. The body lies in a bronze coffin, a fine piece of modern work by the brothers Spazzi (1889), guarded by seated figures of Faith, Hope, Charity and Religion. The whole is enclosed in the same kind of beautiful iron work such as has already been noticed round the tombs of the Scaligers, which was erected by order of Mastino II. della Scala.