The interior is dignified and fine, consisting of a nave and two narrow side aisles, separated by twelve columns, and terminating in an apse of five divisions. The eye is at once caught, though not perhaps attracted, on entering by the holy water stoups, which consist of two humpbacked figures, grotesque in the extreme, and that stand one on each side immediately under the two first columns. The one to the left was carved by Gabriel Cagliari, the father of Paolo Veronese; the other on the right is the work of Alessandro Rossi, the father of the humpbacked painter, Giambattista Rossi known as “Gobbino,” and on it is inscribed the date of 1591. The Gothic vaulting of the building is fine, and had the frescoes that once covered it but remained to this day, the effect of colour and symmetry (which is striking even now when many of the frescoes have disappeared) would have been enhanced a hundredfold. Several fine altars are ranged on either side of the church, many of them raised on classic lines; others again being a mixture of classic and Renaissance. The first altar on the right hand side, that of the Fregoso family, is Corinthian, and is reckoned by [Illustration: HOLY WATER BASIN IN ST ANASTASIA FIGURE CARVED BY GABRIEL CAGLIARI, FATHER OF PAUL VERONESE] Vasari as one of the finest in Italy. It was both designed and sculptured in 1565 by Danese Cattaneo. The second altar is adorned with a good deal of “finto bronzo,” and is a mixture of Renaissance and classical work that harmonises very happily. High up and hardly to be seen even with glasses is a fresco attributed to Mantegna. It is said to have been “executed with the utmost care”; but no judgment is possible in this case from below. The third altar is again one of those successful blendings of the Renaissance and classical styles, where rich carvings in marble and stone are shown off to untold advantage in their setting of severe lines. Here again we have to take on faith the statements as to some frescoes of Caroto of the date of 1470, though too high up for mortal sight or sense to presume to criticise. There is also here an entombment ascribed to Liberale. The fourth altar is built on the lines of the Arco de’ Gavi, and is of interest and service as setting before us, with very slight deviations, a model of that famous arch as it once stood close to Castel Vecchio. This altar was erected by Fiorio Pindemonte in the year 1539, and has a fine picture of St Martin, one of the last works of Gian Francesco Caroto.