Battle of Verona (1805)

The Battle of Verona was fought in June 402 by Alaric's Visigoths and a Western Roman force led by Stilicho. Alaric was defeated and forced to withdraw from Italy.

The Veronese Easter (Italian: Pasque Veronesi, or singular Pasqua Veronese; French: Pâques véronaises) was a rebellion during the Italian campaign of 1797, in which inhabitants of Verona and the surrounding areas revolted against the French occupying forces under Antoine Balland, while Napoleon Bonaparte (the French supreme commander in the Italian campaign) was fighting in Austria. The uprising received its name through association with the anti-French uprising of the Sicilian Vespers of the 13th century. Incited by oppressive behaviour by the French (confiscating the assets of Verona's citizens and plotting to overthrow the city's local government), it began on the morning of 17 April 1797, the second day of Easter: the enraged population succeeded in defeating more than a thousand French soldiers in the first hour of fighting, forcing them to take refuge in the town's fortifications, which the mob then captured by force. The revolt ended on 25 April 1797 with the encirclement and capture of the town by 15,000 soldiers, who then forced it to pay a huge fine and hand over various assets, including artwork.

The Battle of Verona was fought in 312 between the forces of the Roman emperors Constantine I and Maxentius. Maxentius' forces were defeated, and Ruricius Pompeianus, the most senior Maxentian commander, was killed in the fighting.

The defensive system of Verona is a military, logistical and infrastructural complex consisting of city walls, bastions, forts, entrenched camps, warehouses and barracks, built between 1814 and 1866 during Habsburg rule, which made the Venetian city, the pivot of the so-called "Quadrilatero," one of the strong points of the Empire's strategic system. Thus Austrian Verona became an army stronghold, that is, a center that could supply the entire imperial garrison present in the Kingdom of Lombardy-Venetia, consisting of approximately 100,000 soldiers.Monumental works forming a repertoire of nearly 2,000 years of the history of fortification art are still visible in the urban area, which is why the city has been decreed a UNESCO World Heritage Site; the ruins of the Roman fortified city, the perimeter of the Scaliger walled city with its castles, the structure of the Venetian fortress, as well as the final layout of the Habsburg stronghold still remain. The magisterial wall, in its final arrangement, has a development of more than 9 km and occupies almost 100 ha of area with its structures: curtain walls, towers, allures, bastions, moats, terrepleins and glacis. Finally, in the surrounding area, located in the flat countryside or on the Torricelle hills, 31 forts (19 of which still exist) formed the last and most modern city system, which was the defense of the Habsburg stronghold.The strengthening of the defenses was gradual, implemented in phases. From 1832 to 1842 the magisterial walls were restructured in response to the destabilization of the European political scene, which peaked in 1830 with the liberal uprisings and the July Revolution in Paris. From 1837 to 1843, hill fortifications and advanced plain forts were built, the former to prevent outflanking maneuvers to the north, the latter to solve some tactical and defensive deficiencies of the curtain wall. In 1848, the tactical importance of dominating the long natural terracing unraveling to the west of Verona highlighted by the Battle of Santa Lucia, construction of a first line of detached military forts began, which were then completed with permanent masonry works by 1856. Between 1859 and 1861, the forts of the second entrenched camp were built, at a greater distance from the city so as to render ineffective the new artilleries, which were equipped with a wider range; and finally, in 1866, this second entrenched camp was completed with two additional forts in semi-permanent style, due to the imminence of the Third Italian War of Independence. The Austrian military buildings represent "the salient episode of art in 19th-century Verona. No other work of painting, sculpture or architecture holds a candle to the importance of the bulk and vastness of the references with the landscape and history." The Imperial Royal Office of the Fortifications of Verona proved respectful of the pre-existing communal, Scaliger and Venetian walls, integrating them into the new fortification system and renovating them according to new developments and needs in the military sphere. When confronted with the need to build new structures, on the other hand, a new approach was taken to Veronese Romanesque architecture, thus adapting the building materials, their use, as well as formal and decorative choices to the city context.

Santa Teresa degli Scalzi, known as the church of the Scalzi (Chiesa degli Scalzi) is a Baroque style, Roman Catholic church located in central Verona, region of Veneto, Italy.

Verona Porta Nuova is the main railway station of Verona, Italy. It is one of the two stations serving central Verona; the other station, Verona Porta Vescovo, is located at the east of the city. It is situated at Piazzale XXV Aprile ("25 April") at the south of the city centre. The station is a 20-minute walk (approximately 1,5 km) or 10-minute bus ride from Arena di Verona. The station was opened in 1852 by the Austrian Empire's Südbahn and, after its transfer to Italy, has substantially been rebuilt between 1910 and 1922. Following the destruction by allied bombings during the Second World War, the present building was reconstructed between 1946 and 1949. Verona Porta Nuova is a major cross-junction station in Italy: the north–south Brenner Railway connecting Austria and Bologna meets the east–west Milan-Venice railway. The north–south route has been classified by the European Union as Trans-European Network (TEN) Axis No. 1 Berlin-Palermo. The station handles 25 million passengers annually.

The Province of Verona (Italian: Provincia di Verona) is a province in the Veneto administrative region of Italy. On its northwestern border, Lake Garda – Italy's largest – is divided between Verona and the provinces of Brescia (Lombardy region) and Trentino (Trentino-Alto Adige/Südtirol region). Its capital is the city of Verona. The city is a UNESCO World Heritage Site.The province is cosmopolitan in nature. It is bordered by Italian Tyrol in the north, Province of Vicenza and Province of Padua in the east. Province of Rovigo and Province of Mantua in south and Lake Garda in the west. From north to south the maximum extent of the province is 50 miles while it is 25 miles from east to west.

Porta Nuova is a gateway to the historic center of Verona, built between 1532 and 1540. It was designed by architect Michele Sanmicheli. Giorgio Vasari said of the gateway in Le vite de' più eccellenti pittori, scultori e architettori "never before any other work of more grandeur or better design."

San Bernardino is a church in Verona, northern Italy. The church, in Gothic style, was built from 1451 to 1466.

The Pellegrini Chapel (Italian: Cappella Pellegrini), initially named "Guaresco," is a religious building commissioned by Countess Margherita Pellegrini to the famous architect Michele Sanmicheli and built between 1528 and 1559. It occupies a prominent place in Renaissance architecture.It is located within the Franciscan complex of San Bernardino in Verona, which consists of a Gothic-style church and a series of valuable cloisters and became a coveted place for Verona's noble families to build their aristocratic chapels between the 15th and 16th centuries.

The Castel Vecchio Bridge (Italian: Ponte di Castel Vecchio) or Scaliger Bridge (Italian: Ponte Scaligero) is a fortified bridge in Verona, northern Italy, over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m).

Castelvecchio Museum (Italian: Museo Civico di Castelvecchio) is a museum in Verona, northern Italy, located in the eponymous medieval castle. Restoration by the architect Carlo Scarpa between 1959 and 1973 has enhanced the appearance of the building and exhibits. Scarpa's architectural style is visible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork. The renovation carefully balanced new and old, revealing the history of the original building where appropriate. Unusual at the time, this approach has now become a common approach to renovation.