Sant'Anastasia church building started in 1280 and completed in 1400, designed by the Dominican friars. It took its name from a pre-existing temple built by King Theoderic the Great upon which was built the actual church. Since 1307, it is in fact co-entitled to St. Peter of Verona, martyr and co-patron of the city. Consecrated only in 1471, until 1808 the church was held by the Dominicans.
The 72 mt tall belltower had four bells in 1460, the fifth was added in 1650. In the 1839 were casted the actual 9 bells tuned in C, them are ringed in Veronese bellringing art by a local team founded in 1776. The façade is divided into three vertical section corresponding to the nave and the two aisles in the interior. Unfinished, the façade is mostly in brickwork. In the centre of the middle section is a simply rose window.
The 15th century portal has two doors, and is enclosed into a Gothic structure (1330) with arches supported by ornamental columns in red, black and white marble. The arches forms three lunettes: in the larger one is a representation of the Holy Trinity with two Angels, flanked by St. Joseph and the Holy Virgin. The Father sits on a Gothic throne with Crucifix on his knees and Christ on his side, surmounted by a dove. In the two smaller lunettes, directly over the portal, are portrayed the Bishop leading the Veronese people and St. Peter of Verona leading the monks, with the white-black banner of the Dominicans. The five splays of the Gothic arch are decorated with six chronological scenes of Jesus' life: the Annunciation, the Birth, the Adoration of the Magi, the Path towards the Calvary, the Crucifixion and the Resurrection. The central column between the doors has high-reliefs with St. Dominic, St. Peter of Verona and St. Thomas.
The interior, on the Latin cross plan, is divided into a nave and two aisles, with crossed vaults, separated by six columns each; the latter are in white or red Verona marble, with Gothic capitals. The four columns over the high altar show the coat of arms of the Castelbarco of Trento, a family who extensively contributed to the church's construction. Notable is the funerary monument to Cortesia Serego, on the left of the apse, which was finished in 1432 by Vincenzo di Stefano da Verona. It portrays the riding figure of Cortesia, clad with an armor and holding a commanding wand. The horse is placed of the sculpted sarcophagus, which has always been empty. The fresco part represents the Annunciation and the Saints Peter of Verona and Dominic.
The two stoups before the first two columns stands on two hunchback figures, one of which attributed to Paolo Veronese's elder son, Gabriele Caliari.
The Pellegrini Chapel houses the late International Gothic fresco of St. George and the Princess, main work of Pisanello, as well as terra-cotta statues by Michele di Firenze, executed before 1436. A frieze by the latter, or by Pisanello, has now disappeared. The Pellegrini chapel also houses the grave of Wilhelm von Bibra.References:
The Amphitheatre of the Three Gauls was part of the federal sanctuary of the three Gauls dedicated to the cult of Rome and Augustus celebrated by the 60 Gallic tribes when they gathered at Lugdunum (Lyon). The amphitheatre was built at the foot of the La Croix-Rousse hill at what was then the confluence of the Rhône and Saône.
Excavations have revealed a basement of three elliptical walls linked by cross-walls and a channel surrounding the oval central arena. The arena was slightly sloped, with the building"s south part supported by a now-vanished vault. The arena"s dimensions are 67,6m by 42m. This phase of the amphitheatre housed games which accompanied the imperial cult, with its low capacity (1,800 seats) being enough for delegations from the 60 Gallic tribes.
The amphitheatre was expanded at the start of the 2nd century. Two galleries were added around the old amphitheatre, raising its width from 25 metres to 105 metres and its capacity to about 20,000 seats. In so doing it made it a building open to the whole population of Lugdunum and its environs.