(1332). The adjoining chapel owned by the Lavagnoli family, though also known as that of St Anna, contains some frescoes, unfortunately much injured, in the style of Mantegna. The next chapel, that of the Salerno family, where there is a fine Gothic monument to Giovanni Salerno, is used as the belfry. What with the mass of hanging ropes, and the storage of church furniture that lumbers up most of this chapel, it is not easy to form a right opinion of some fine old frescoes said to belong to the first half of the fourteenth century, or to do more than lament the bad condition in which they are kept. In the sacristy stands the rescued fresco of St George by Pisanello, and a fine picture by Felice Brusasorci, while outside the sacristy are some frescoes by an unknown hand sadly retouched with startling colours. In the Capella del Rosario is a picture of the Madonna and Child between St Dominic and St Peter Martyr, with the portraits of Mastino II. della Scala and his wife, Taddea da Carrara, kneeling at the base of the picture on either side. The tradition that once ascribed this picture to Giotto has now been completely done away. The Flagellation here is by Ridolfi. The next chapel, that of the Miniscalchi family, is rich in Renaissance and classical decoration, and possesses a good picture by Giolfino of the Descent of the Holy Spirit (1518). The remaining altars in the church have no objects that claim any special attention, and after a study of so much that is beautiful and absorbing, it is almost a relief to wander away, noting only once again the glory of the entire church, and observing with pleasure the very effective and simple design of the pavement at our feet in its threefold pattern of grey and red and white marble. Immediately outside the church on the right hand side stands the tomb of Guglielmo da Castelbarco, the friend and councillor of Cangrande della Scala--and a friend too to Verona, in that it was his largess that contributed chiefly to the building of St Anastasia and of that of S. Fermo as well. [Illustration: TOMB OF GUGLIELMO DA CASTELBARCO] This munificent patron of Verona (who was besides its Podestă deserved to have what has been justly termed the most perfect monument in the city where the finest monuments existing in Italy are to be found. Ruskin indeed has pronounced it to be, “the most perfect Gothic monument in the world”; and again he alludes to it as “pure and lovely, my most beloved throughout all the length and breadth of Italy--chief as I think among all the sepulchral marbles of a land of mourning.”