On the top of the screen is a beautiful bronze crucifix by Giambattista da Verona, whereon are the arms of Bishop Ludovico Canossa, in whose episcopate it was set up. There is evidently some fine work both as to marbles and paintings on the altar immediately to the proper right of the high altar, but an ugly, modern erection (said to be temporary) in front of the organ shuts out all the light and leaves the fancy free to speculate over glories that perhaps do not exist. The organ itself, a good specimen of “barocco” work, is richly decorated, and its doors are painted by Felice Brusasorci. Close to it, but lost and hidden by the stand above mentioned, is the Cappella Maffei, with some good, though small paintings by Francesco Morone; and some frescoes by Falconetto--indeed the best work done by this latter, signed by him and bearing the date 1503, is to be found among these frescoes. The altar beyond the high altar and to its proper left, is known as that of St Agatha (1353), and contains a lovely tomb partly Gothic, partly Renaissance. A few of the bones of the saint are buried here, the rest are interred at Catania. Below these relics again lies the body of Sta. Maria Consolatrice, a sister of St Annone (bishop of Verona in the fourth century), who was brought here in 1807 when the church which was named after her, and where till then her body had rested, was suppressed. The last altar to the left coming out of the church contains part of a picture by Liberale having for its subject the Adoration of the Magi. Mr Selwyn Brinton says of this picture: “He (Liberale) was living between 1489 and 1490 in Verona, when he painted the Adoration of the Kings in the Duomo, with a rich landscape. Here he is still the miniaturist in feeling; his drawing careful, but unsound; his action quaint and startling; his bright colours thrown together without harmony; his background exuberant in detail.”[43]