"[1][2] Two resolutions of the Venetian Senate, the first dated 15 December 1530, the second on 5 January 1531, mandated the demolition of the long side of the wall that separated the Visconti Citadel from the rest of Verona, "for the convenience and ornament of our city."

[7][8] In this context, Sanmicheli had the opportunity to refine a new urban planning approach for this significant portion of the Venetian city, establishing Porta Nuova as a focal point.

[9] From a civil perspective, the construction sought to enhance the Arena and revive the Roman urbanistic plan characterized by orderly, rectilinear axes, in contrast to the chaotic urbanism of the medieval period.

[8][12][13] By 1535, the elevation toward the countryside and the interior of the building were nearly completed, with only the installation of the Lion of Saint Mark, which was described as "very large and difficult to move", remaining to be done, according to a report dated 16 March that year.

[19] The current appearance of the monument, while retaining some similarities to Sanmicheli's original design, has undergone significant alterations due to interventions throughout the 19th century during the Austrian occupation, particularly on the countryside façade.

[1] Additionally, a connecting corridor was created from the smaller light on the right to the interior rooms, and the two rectangular openings flanking the pediment on the city-facing side were closed.

[20] This intervention, which made a new addition to the original monument while remaining faithful to its design and construction technique, can be identified because of the "decidedly lower level" of the ashlar lining.

[24] Francesco Maria I Della Rovere, Captain General, specified that the gates should be situated "in an open place and straight between two bastions", avoiding the "entangled and twisted" configuration found in Ferrara.

"[22] This necessitated the gate's considerable width for maneuvering artillery, as well as thick walls, pillars, and roof structures to support the weight and absorb vibrations from cannon fire.

[31] These references align with the political aims of the Venetian Republic, which sought to fortify and beautify its controlled cities by drawing on the grandeur of ancient Rome.

[9] The original elevation facing the countryside was inspired by the classical compositional scheme of the triumphal arch, though the substantial forms and complete ashlar cladding conferred a more austere appearance.

[32] This façade had a particularly massive and stocky Doric order, lacking a base, and a facing completely covered in rough ashlar, including the half-columns and pilasters, while the frieze, containing metopes and triglyphs, appears almost rough-hewn.

The simultaneous use of the Doric order and ashlar was not unprecedented, having been utilized in several contemporaneous buildings, and it also echoed elements found in the Veronese amphitheater, which is located at the end of the new city layout.