{"id":18615,"date":"2026-11-06T16:32:02","date_gmt":"2026-11-06T15:32:02","guid":{"rendered":"https:\/\/slavenvujic.com\/?p=18615"},"modified":"2026-11-06T17:04:41","modified_gmt":"2026-11-06T16:04:41","slug":"verona-grad-izmedu-kamena-i-rijeke","status":"publish","type":"post","link":"https:\/\/slavenvujic.com\/en\/verona-grad-izmedu-kamena-i-rijeke\/","title":{"rendered":"Verona \u2014 Where the Arena Sings and Juliet Still Waits"},"content":{"rendered":"<p class=\"lead translation-block\">From the Roman Arena and Juliet\u2019s balcony to the della Scala squares, the bridges over the Adige and the Basilica of San Zeno, this walk takes in a Verona whose old town still reveals itself at a pedestrian\u2019s pace.<\/p>\n<nav id=\"sadrzaj-clanka\" aria-label=\"Contents\">\n<h2>Contents<\/h2>\n<ol>\n<li><a href=\"#bra\">Piazza Bra \u2014 The Sky Above the Arena<\/a><\/li>\n<li><a href=\"#julija\">Via Cappello \u2014 How Juliet Got Her Balcony<\/a><\/li>\n<li><a href=\"#erbe\">Piazza delle Erbe \u2013 What Remains of the Roman Forum<\/a><\/li>\n<li><a href=\"#dante\">Piazza dei Signori-Dante in front of someone else's Palace<\/a><\/li>\n<li><a href=\"#arche\">Arche Scaligere-graves viewed from the street<\/a><\/li>\n<li><a href=\"#pietra\">Ponte Pietra-stone extracted from the river<\/a><\/li>\n<li><a href=\"#san-pietro\">Castel San Pietro-looking back<\/a><\/li>\n<li><a href=\"#borsari\">Porta Borsari - Roman gate in today's Street<\/a><\/li>\n<li><a href=\"#castelvecchio\">Castelvecchio-fortress, Bridge and place for one statue<\/a><\/li>\n<li><a href=\"#san-zeno\">San Zeno \u2014 A Doorway Worth Slowing Down For<\/a><\/li>\n<li><a href=\"#adige\">Back to the Adige<\/a><\/li>\n<\/ol>\n<\/nav>\n<h2 id=\"bra\">Piazza Bra \u2014 The Sky Above the Arena<\/h2>\n<p class=\"translation-block\">The Piazza Bra Arena is first seen from the outside, from a distance that allows the eye to follow the bend of the wall. It is only when we get closer that we begin to notice the difference between the stone blocks, the marks on the edges of the arches and the places where only a narrow piece of Sky can be seen through the passage. On the square people differ in several directions. Those who rush towards Via Mazzini shorten their way up the building, and those who are first in Verona often stop as soon as they get enough space for their entire amphitheatre to fit in a photo. To begin the walk, it is more useful to approach so close that it does not stop anymore.<\/p>\n<figure><img decoding=\"async\" src=\"https:\/\/slavenvujic.com\/wp-content\/uploads\/2026\/11\/verona-arena.jpg\" width=\"968\" height=\"648\" alt=\"Roman Arena in Piazza Bra in Verona\" loading=\"lazy\"><figcaption>The Roman Arena in Piazza Bra in Verona. Photo <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Verona_-_Piazza_Bra_-_Arena.jpg\">Fabio Becchelli \/ Wikimedia Commons<\/a>, <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/3.0\/\">CC BY-SA 3.0<\/a>.<\/figcaption><\/figure>\n<p class=\"translation-block\">The Arena was built in the first century AD, during the Roman Empire. It stood outside the city walls of the time, where crowds could come and go through a series of entrances. Most of the outer ring is now gone. The few arches that remain, known in Verona as the <em>Ala<\/em>, are a fragment of a much larger whole. They give some idea of how different the approach must have been when the outer fa\u00e7ade was almost continuous. For centuries the building itself served as a source of stone. Between the Roman amphitheatre and the one we see today lie centuries in which Veronese people made decisions about the ancient walls according to the needs of their own time.<\/p>\n<p class=\"translation-block\">From the stone seats you can see something that is hard to grasp from the square. The Arena was designed to direct a crowd\u2019s attention towards the same space. An opera stage now stands where the arena floor once held contests, but your gaze still drops towards the centre. On 10 August 1913 the tenor Giovanni Zenatello and the impresario Ottone Rovato staged <em>Aida<\/em> to mark the centenary of Verdi\u2019s birth. The opera festival grew out of that performance. Imagine the nerve it took to trust a human voice in a building without a roof, with an audience spread across rows of stone. In Verona that voice gave the amphitheatre a purpose its builders could never have imagined.<\/p>\n<h2 id=\"julija\">Via Cappello \u2014 How Juliet Got Her Balcony<\/h2>\n<p class=\"translation-block\">From the arena through Via Mazzini to Via Cappello it is quickly reached, until a narrow passageway presents a group waiting for the entrance to the courtyard. In it, everyone looks at the same place, a few meters above the ground. The balcony is small, and the courtyard is narrow enough that the words spoken above can be imagined without raising the voice. This is part of the success of this space. Shakespeare's scene suddenly takes on dimensions of ordinary domestic conversation that others should not hear.<\/p>\n<p class=\"translation-block\">The house is historic. She was related to the Dal Cappello family and was purchased by the city in 1905. Today's famous balcony was added to the facade in 1939. and 1940., under the direction of Antonio Avena. The similarity of the surname Dal Cappello to the name Capuleti helped to place Julia's house right here. Between the age of the building and the credibility of the scene that visitors attributed to it remains a beautiful space for reflection. People brought a scene from the book into the courtyard, and the city in time gave him a stone to point at with their finger.<\/p>\n<p class=\"translation-block\">The story reached Shakespeare detourously. Before Romeo and Juliet appeared on the English stage, Italian versions were narrated by Luigi da Porto and Matteo Bandello. Shakespeare's immediate literary template was Arthur Brooke's 1562 poem. Verona could be imagined in different ways in these transmissions, and the names of the feuding families and the place of action traveled along with the story. Therefore, in the yard it is not necessary to spend much time on the question of where the real lovers stood. It is much more interesting to look at how many people, from very different countries, came under the same stone with the same idea of what could happen there.<\/p>\n<p class=\"translation-block\">At the exit the viewpoint narrows again to the passageway and the street. In a few steps we pass the road from the crowded stage to the real city, in which the quarrel of powerful families may have left a mark on whose name will remain on the palace, and whose name will one day have to be searched in the archives. Towards Piazza delle Erbe from Via Cappello one goes along the people who have just left the courtyard and those who are about to enter it. The first one is looking at the windows, and the second one is still looking for the door.<\/p>\n<h2 id=\"erbe\">Piazza delle Erbe \u2013 What Remains of the Roman Forum<\/h2>\n<p class=\"translation-block\">The Piazza delle Erbe is easier to look up as soon as we move away from the center of the passage. The square extends in length, so the facades at the opposite end are never completely out of sight. On one there are painted figures crouching against the windows, above the others there is a tower, and among everything there is room for stalls and people who choose between them where to go next. The square occupies the space of the Roman Forum. The old role of the place is recognized in the fact that one still comes here to do something in front of others, to look at goods or to pass through the city so that one can see who has already arrived along the way.<\/p>\n<figure class=\"portrait\"><img decoding=\"async\" src=\"https:\/\/slavenvujic.com\/wp-content\/uploads\/2026\/11\/verona-piazza-erbe.jpg\" width=\"960\" height=\"1208\" alt=\"Piazza delle Erbe with market and historic facades in Verona\" loading=\"lazy\"><figcaption>Piazza delle Erbe with a market and historic facades in Verona. Photo <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Piazza_delle_Erbe_(Verona).jpg\">Didier Descouens \/ Wikimedia Commons<\/a>, <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure>\n<p class=\"translation-block\">Roman Verona developed on land that the Adige wraps in a wide loop. The river offered protection, and the traffic position connected northern Italy with directions to the Alps. As a Roman municipality, the city has been developing since the first century BC. To understand this Verona, it is enough to pass later towards Porta Borsara and look where they are in relation to the gates of the forum, the bridge and today's streets. A good part of the Roman city can be read by the relationship between the places, even when everything was built between them much later.<\/p>\n<p class=\"translation-block\">In the middle of the Square stands the Madonna Verona fountain, with an antique statue incorporated into the medieval whole. A short distance away is a stone Tribune. It served public rites and affairs that sought common measure. Under it, among other things, the oath of the city officials was given a visible place, and merchants could check the measures. In the same square, it was important to know how to approach the authorities and how to guarantee the buyer what he pays. These two things at first glance belong to different histories, but the medieval city exposed both in front of the same people.<\/p>\n<p class=\"translation-block\">At the northern end of the square, the Lion of St Mark looks down over a crowd that would be hard to keep an eye on even if the lion were alive. Verona came under Venetian rule in 1405. After a <a href=\"https:\/\/slavenvujic.com\/en\/venecija-grad-koji-je-pobijedio-more\/\">walk through Venice<\/a>, it is easier to understand the other half of the story the lion tells here. The Venetian state sought security and wealth in inland cities too, on roads that did not lead straight to the sea. Between the Rialto and this square lies much of the country people and goods crossed before they ever reached a ship.<\/p>\n<h2 id=\"dante\">Piazza dei Signori-Dante in front of someone else's Palace<\/h2>\n<p class=\"translation-block\">From Piazza delle Erbe through the Arco della Costa you exit to a square where you can easily hear footsteps. That change fits into the length of one passage. Stands remain behind, and before us are the facades of the palaces and Dante standing in the middle of Piazza dei Signori. The statue was installed in 1865., on the six hundredth anniversary of the poet's birth. The white marble attracts a view in the space where without this figure, the windows and doors through which the city's powerful once entered would first take over.<\/p>\n<p class=\"translation-block\">Dante was in Verona a man in exile. He was expelled from Florence by a political verdict in the early fourteenth century, and found protection in the city of the della Scala family. The name of Cangrande I is particularly associated with Verona. It is interesting to think of the difference between a man who arrives in the city with little prospect of returning home soon and the monument that the same city will build for him centuries later. During Dante's stay, his position depended on the hospitality of the people behind these walls. Today we stop at these walls because we know that Dante lived there.<\/p>\n<p class=\"translation-block\">The della Scala family led Verona through a period of strong expansion in the thirteenth and fourteenth centuries. In the area of the square, the government can be traced through palaces that have changed over time. The former palace of the master of the city was also used by Venetian administrators, and facades from various periods continue to close the common area. In that vicinity it is easy to discern how much the political order changes without having to change the address. It is enough for other people to decide whose sign will stand above the door and who will pass through them.<\/p>\n<h2 id=\"arche\">Arche Scaligere-graves viewed from the street<\/h2>\n<p class=\"translation-block\">From the Statue of Dante to the Tomb of Scaligeri there are only a few tens of meters. Next to the Church of Santa Maria Antica the view first stop the iron fence. Through it Stone canopies, pinnacles and equestrian statues are seen. The graves have risen above the heads of passers-by and in the narrow street occupy almost as much sky as the walls allow. The scene is best read when a man moves a step or two sideways. Only then does one stone peak separate from the other, and the horse ceases to be only a silhouette at the end of the ornament.<\/p>\n<p class=\"translation-block\">Cangrande I he is buried next to the entrance to the church, and in the same frame are the lavish tombs of Mastin II. and Cansignori. The original equestrian statue of Cangrande is today kept in Castelvecchi. It's interesting to leave that statue for the second part of the walk. Here his copy shows how the figure of the ruler stood above the burial place. In the museum it will be possible to look closer and from a different angle, so on what is from the street the sign of the family will be able to more easily discern the work of the sculptor.<\/p>\n<p class=\"translation-block\">The power of the della Scala family eventually disappeared from the political map of Verona. What remains in this narrow street is enough to feel how much attention they paid to seeing them after death. The fence between passersby and the Tomb makes this impression even stronger. From the street we are close enough to see a face or a crest, and yet always from the outside. On the way to Sant'astasia we have to turn again. From the other end of the street, the entire family necropolis once again stands in one view, even though a moment ago every detail of it was looking for its place.<\/p>\n<h2 id=\"pietra\">Ponte Pietra-stone extracted from the river<\/h2>\n<p class=\"translation-block\">From Sant'astasia to Ponte Pietre Adige it opens several times between buildings before we get quite close to it. On the bridge the eye gets used to the difference between the bright stone and reddish parts very quickly. It belongs to the long life of the transition that began in Roman times, was repaired and rebuilt, and in the twentieth century had to be reassembled. The water under the arches accelerates the impression that the stone is in the same place all the time. For part of these blocks, the riverbed was the place where they had been lying for years.<\/p>\n<p class=\"translation-block\">German troops in 1945. they mined the bridge. Post-war reconstruction brought back some of the stones and bricks extracted from Adige. When we stop in the middle of the transition, due to the proper rhythm of the arches it is easy to forget how slow the work behind it must have been. It was important to find the material, determine where it could be used and re-erect the crossing that the city needs every day. The rebuilt bridge retains the old carriageway. This is perhaps what you first feel on the walk, although the building we are crossing today is largely the result of the work of people from the last century.<\/p>\n<p class=\"translation-block\">Before the war, the city changed. Great flood of 1882 it preceded the construction of high embankments that altered the relationship of houses and streets to Adige. In many places today it is walked high above the water, along a straighter shoreline line than the river itself would have chosen. With Ponte Pietre it is easier to follow both forms. One determines the space through which the water passes, and the other the city's attempt to restrict that passage. In this combination of stone, electricity and public work there is something familiar from Venice, although the rules of water here are different.<\/p>\n<h2 id=\"san-pietro\">Castel San Pietro-looking back<\/h2>\n<p class=\"translation-block\">Across the Ponte Pietre, on the Veronetta side, stone steps lead towards Castel San Pietro. The climb is short enough that the previous part of the Walk is still remembered in legs, and steep enough that the city suddenly begins to agree in different relationships. On the slope lies the Roman theatre. Unlike the arena, which Piazza Bra can be accessed from various sides, here the building rests on the slope of the hill. The ancient city had two completely different gathering places, one against the walls and the other on a slope overlooking the river.<\/p>\n<p class=\"translation-block\">On the top above the theater stands the building of the former Austrian barracks. In the nineteenth century, the military position on the Hill had value precisely because of what attracts walkers today. Whoever sees the bridges, the banks and the roads towards the city from above, has a good overview of the approach. After the fall of The Venetian Republic in 1797. Verona went through shifts of French and Austrian authority. She entered the Kingdom of Italy in 1866. In this period Verona was an important fortress, and the defensive structures remained part of the city that today we connect with the much older stone ring of the arena.<\/p>\n<p class=\"translation-block\">Theatre was created at the end of the first century BC. From its side of the river you can see how different the position is from that of the Roman forum. There the city gathered around the Square, and here the seats grew upward towards the hill, facing the shore from which we had just come. Performances are still held in the building today. It is good to imagine the audience descending towards the bridge at the end of the performance. The theatre is left by almost the same route that came to it from the Roman city, but now the lights of the houses on the other side of the Adige turn on in front of the spectators.<\/p>\n<p class=\"translation-block\">From the viewpoint, the church towers are most easily recognized. The streets we come to are often completely hidden under roofs. This change is also important for the continuation of the walk. The view from here invites to return across the river and take a westerly direction, towards the city gates and Castelvecchi. Only when we go down to the water again will we see how close the river really is to the buildings that seemed to be scattered over the wide plain from above.<\/p>\n<h2 id=\"borsari\">Porta Borsari - Roman gate in today's Street<\/h2>\n<p class=\"translation-block\">Across the Ponte Pietre we return to the Old Town. From the area around the cathedral and Corso Sant ' Anastasia the road over Piazza delle Erbe leads to Porta Borsari. The Roman gate here is not heralded by a large open space. They stand in the Walk of the street, so you can reach them by looking at the other side and notice them only when the arches above us are doubled. The white facade particularly clearly distinguishes two large passages at the ground and a series of smaller openings above them. For centuries, the daily walk has to be adapted to a structure whose old defensive purpose has long since ended.<\/p>\n<p class=\"translation-block\">Not far from Castelvecchi stands the Arco dei Gavi, a Roman arch linked to the Gavi family. It was removed by the French in Napoleonic times. In the twentieth century it was reassembled near its original position. It makes sense to look at it after Porta Borsari, because a few hundred meters apart you can see how the city lives with two completely different fates of the ancient building. One of the doors still passes through the Old City Road. Next to the second arch stands by the river, in a place that people later chose for it. Both are close enough to the everyday road to easily get used to.<\/p>\n<h2 id=\"castelvecchio\">Castelvecchio-fortress, Bridge and place for one statue<\/h2>\n<p class=\"translation-block\">From the Roman arch to the entrance to Castelvecchio, the crossing is felt by the thickness of the wall and the change of color. The fortress was built in the mid-fourteenth century by Cangrande II. della Scala stands right next to the Adige. Its fortified bridge leads from the castle grounds to the other bank. The mere fact that the ruler of the fort had his own river crossing speaks volumes about how important freedom of movement could be to him, even when he stood in the middle of the city he ruled.<\/p>\n<figure><img decoding=\"async\" src=\"https:\/\/slavenvujic.com\/wp-content\/uploads\/2026\/11\/verona-castelvecchio.jpg\" width=\"1280\" height=\"854\" alt=\"Fort Castelvecchio and Ponte Scaligero bridge above Adige\" loading=\"lazy\"><figcaption>Fort Castelvecchio and the Ponte Scaligero bridge above Adige. Photo <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Castelvecchio_-_Verona_-_Italy_-_2026_-_01.jpg\">Norbert Nagel \/ Wikimedia Commons<\/a>, <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure>\n<p class=\"translation-block\">Ponte Scaligero shares with Ponte Pietro the experience of demolition in 1945. and post-war reconstruction. From the bridge it is good to look down the Adige, and then turn towards the Fort. The bridge looks like an extension of the wall. The side walls and cogs leave only individual openings through which the water can be seen in full light. One who takes a few steps along the edge can feel the security that the crossing offered in the same place and see how narrow that security Narrows one's gaze. The Roman bridge we crossed earlier and this medieval bridge join the same banks. The builders expected different things from the crossing.<\/p>\n<p class=\"translation-block\">Castelvecchio today is a museum. Carlo Scarpa shaped its setting from the late fifties to the seventies of the twentieth century. The approach to the sculpture of Cangrande is one of his most striking interventions. The horse and rider are high above the pass, but can also be viewed from a level closer to them. After the tomb in the center of the city, you can see how much the change in height changes the reading of the same work. On the tomb the ruler was part of the public image of the dynasty. Here one can trace the position of the arms, the way the armour and face were drawn from the stone, and the relationship of the rider to the horse. The museum returned to the sculpture some of the visibility that its original location deliberately limited.<\/p>\n<h2 id=\"san-zeno\">San Zeno \u2014 A Doorway Worth Slowing Down For<\/h2>\n<p class=\"translation-block\">From Castelvecchi along the western part of the old Core towards San Zen, traffic is distributed on wider streets. In the Square in front of the Basilica there is enough space to suddenly see the facade, the height of the bell tower and the width of the sky above it. After the towers and the crowning Tower, the doors of the church refocus their gaze on the man and his measure. Under the stone porch, the details that we can barely discern from the Square can suddenly be read almost at hand height.<\/p>\n<figure><img decoding=\"async\" src=\"https:\/\/slavenvujic.com\/wp-content\/uploads\/2026\/11\/verona-san-zeno.jpg\" width=\"1280\" height=\"799\" alt=\"Romanesque facade of the Basilica of San Zeno Maggiore in Verona\" loading=\"lazy\"><figcaption>The Romanesque facade of the Basilica of San Zeno Maggiore in Verona. Photo <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Verona_Basilica_di_San_Zeno_Maggiore_Fassade_1.jpg\">Zairon \/ Wikimedia Commons<\/a>, <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA 4.0<\/a>.<\/figcaption><\/figure>\n<p class=\"translation-block\">The bronze door panels are folded into a series of small scenes. While looking up close, it is worth following them without haste from one figure to another. Faces and gestures often say enough to those who do not immediately recognize the biblical event. In the interior, the same kind of attention is sought by the altar pala of Andrea Mantegna from the middle of the fifteenth century, commissioned for the Basilica in the time of Abbot Gregorio correr. The painted architectural space connects the Saints with the Theotokos and the child. There is so much order in the scene that even the view that had been moving freely around the church suddenly begins to follow the columns and edges, as if really entering among the painted characters.<\/p>\n<p class=\"translation-block\">The order of the altar pale was of Venetian origin. This connection with Venice here becomes personal and can be seen through the work of an abbot and a painter. In Piazza delle Erbe the affiliation with The Venetian Republic could be read from a tall column. Before Mantegna's fall, one can see what could have emerged from such connections in the space where daily prayers were offered.<\/p>\n<p class=\"translation-block\">Saint Zeno, the fourth-century bishop of Verona and patron saint of the city, belongs to a history much longer than the building we are looking at. It's a good time to think about how cities remember the people who lived in them. Dante has his statue in the square, Cangrande has his horse above the grave, and Zeno has the church around which the whole part of the city has developed. In Piazza San Zeno, when we leave the Basilica, life is already taking place on the other side of the space. People at the table look towards each other and towards the square. The front is close to them, familiar from so many passages that they can have it in front of them and talk about something completely different.<\/p>\n<h2 id=\"adige\">Back to the Adige<\/h2>\n<p class=\"translation-block\">From San Zen, it's worth going back to the river again. After several hours between the squares and the courtyard, the view along the coast can stay in the same place longer than the streets allow. Above the water again appears Castelvecchio. Its brick merges with the bridge at that distance, and only under the arches can you see where one building ends and another begins. As the man stands on the bank, all that work around the walls looks like something that was needed to preserve a few safe paths between the two sides of the river.<\/p>\n<p class=\"translation-block\">The walk started in a square full of people trying to encompass the arena with one view. Here, the whole of Verona can be seen even less at once, so it is easier to let what is left in memory appear. A balcony that could have been added When the story was already old. A walled edge on the bridge through which the water can be seen more clearly for a moment. A statue above the passageway that only at the second glance appears to be the work of someone's hands. From what we've been through the longest, it may remain a mere sight under the bridge. On the approach to the pillar, the water split, along its Stone briefly turned white and joined on the other side, while above it someone without stopping crossed to the other bank.<\/p>\n<h2>Sources and Further Reading<\/h2>\n<ul>\n<li><a href=\"https:\/\/whc.unesco.org\/en\/list\/797\/\">UNESCO-historic centre of Verona<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/it\/luoghi\/anfiteatro-arena\">Visit Verona - Roman Arena<\/a><\/li>\n<li><a href=\"https:\/\/www.arena.it\/en\/fondazione-arena\/about-us\/\">Fondazione Arena di Verona-history of the Opera Festival<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/en\/poi\/juliet-s-house-and-museum\">Visit Verona-Julia's House<\/a><\/li>\n<li><a href=\"https:\/\/folgerpedia.folger.edu\/Romeo_and_Juliet\">The Folger Shakespeare Library-the literary sources of Romeo and Juliet<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/en\/poi\/piazza-dei-signori-piazza-dante\">Visit Verona-Piazza dei Signori<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/en\/poi\/chiesa-di-santa-maria-antica\">Visit Verona-Santa Maria Antica and Tomb of Cangrande<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/en\/poi\/ponte-pietra\">Visit Verona-Ponte Pietra<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/en\/poi\/roman-theatre\">Visit Verona-Roman theatre<\/a><\/li>\n<li><a href=\"https:\/\/www.comune.verona.it\/Vivere-il-comune\/Luoghi\/Museo-di-Castelvecchio2\">City Of Verona-Castelvecchio Museum<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/en\/poi\/ponte-di-castelvecchio\">Visit Verona-Castelvecchio bridge<\/a><\/li>\n<li><a href=\"https:\/\/www.visitverona.it\/it\/esplora\/andrea-mantegna\">Visit Verona-Andrea Mantegna in San Zen<\/a><\/li>\n<\/ul>\n<p>Home photo: <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:VeronaPonteRomanoDaCastSanPietro.jpg\">MM \/ Wikimedia Commons<\/a>, public good.<\/p>\n<p>The story of walking through <a href=\"https:\/\/slavenvujic.com\/en\/rome-where-history-still-lives-in-the-streets\/\">Rome<\/a>, <a href=\"https:\/\/slavenvujic.com\/en\/budapest-a-city-to-read-on-foot\/\">Budapest<\/a> and <a href=\"https:\/\/slavenvujic.com\/en\/prague-a-city-of-five-as\/\">Prague<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"<p>A tour of Verona from the Roman arena and Juliet's balcony to Dante's square, Ponte Pietre, Castelvecchi and the Basilica of San Zeno.<\/p>","protected":false},"author":1,"featured_media":18616,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21,2,25],"tags":[60],"knjiga":[],"zemlja":[37],"lokacija":[61],"class_list":["post-18615","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-italija","category-price-s-puta","category-putopisi","tag-verona","zemlja-italija","lokacija-verona"],"_links":{"self":[{"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/posts\/18615","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/comments?post=18615"}],"version-history":[{"count":2,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/posts\/18615\/revisions"}],"predecessor-version":[{"id":18640,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/posts\/18615\/revisions\/18640"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/media\/18616"}],"wp:attachment":[{"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/media?parent=18615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/categories?post=18615"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/tags?post=18615"},{"taxonomy":"knjiga","embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/knjiga?post=18615"},{"taxonomy":"zemlja","embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/zemlja?post=18615"},{"taxonomy":"lokacija","embeddable":true,"href":"https:\/\/slavenvujic.com\/en\/wp-json\/wp\/v2\/lokacija?post=18615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}