The interior has a single nave and the pavement consists of red and white squares with the exception of the chancel, while the ceiling is covered with wooden trusses.

Numerous works of art are preserved that were created by famous painters from Verona, including Paolo Farinati, Girolamo dai Libri, Alessandro Turchi, and Antonio Balestra.

In the early fourteenth century, members of the Order of the Blessed Virgin of Mount Carmel, commonly called Carmelites, settled in the monastery in place of the Benedictines and, on March 5, 1351, obtained permission from Lord Pietro della Scala to build a new church nearby, on land donated by some wealthy citizens of the Isolo, to be dedicated to the Virgin Annunciate.

[note 2] The work did not progress quickly, and the Carmelites, who were in chronic financial difficulty, had to rely on the generosity of the parishioners to cover the costs of the construction.

[3] A private citizen, a certain Jacopo, son of Bongiovanni da Pesena, took charge of the construction of the side door as a testamentary bequest; an inscription on the architrave recalls the fulfillment.

[2][4][5] For a long time it was believed that between 1545 and 1550 the Veronese architect Michele Sanmicheli had been entrusted with some plans for the architectural rearrangement of the church, which nevertheless remained on paper, including the division into three naves and the construction of a wide transept.

More recent studies, however, have disproved this hypothesis, confirming that the architect was indeed interested in the church, but only spiritually, as this was where his family tomb was located and where he also wished to be buried.

[2] With the arrival of Napoleon's troops in Verona at the end of the 18th century, the church was used as a hospital for French soldiers, and later, in 1805, the convent was finally suppressed.

In the center, the wide splayed portal, in late Gothic style, is composed of the main doorway surrounded by finely carved marble frames.

The inscription on the entablature,[note 4] dating from 1493, indicates that the jurist Cristoforo Lanfranchini dedicated it to Christ and the Virgin, suggesting that it was originally placed in another church and then moved there: further evidence of the financial straits that plagued its construction.

[8] Above the portal, there is a circular rose window inscribed with a series of denticulated, ovoid and spiral decorations reminiscent of the Romanesque style, but in a clearly late Renaissance context.

[10] On the north side there is a door framed by a marble jamb, on the architrave of which there is an inscription that tells how it was built thanks to a donation from a certain Jacopo, who took on this burden in order to respect his father's wishes.

[14] The first altar one comes across is the one belonging to the Dolcetti family, featuring a statue by Ugo Zannoni in which he depicted St. Joachim, St. Anne and the Virgin reading.

[21] Further on, the altar of the confraternity of San Rocco houses an altarpiece by Girolamo dai Libri depicting Saints Roch, Sebastian and Job.

[24] Finally, coming from the nearby former church of Santa Maria della Disciplina, is the Orti altar, located on the northern wall next to the chancel.

It houses a wooden crucifix by an anonymous author from the late 14th century placed against a background in which the city of Jerusalem is painted, with the gloomy sky amplifying the tragic nature of the scene.

[25] The large chancel of the church, accessed by passing a balustrade, houses the high altar made in the 18th century by Giuseppe Antonio Schiavi; of the original, however, only the mensa remains, consisting of an oval in which is carved The Prophet Elijah receiving nourishment from the angel.

The related altarpiece was painted by Paolo Farinati in 1559,[note 8] and depicts Saints Onuphrius and Anthony Abbot, protectors of dyers and other textile activities.

The façade has 36 tin reeds divided into four bays, on the major reed of the left side is inscribed: “Opus Joseph Bonatti Xni 1716,” while inside an engraving was found during restoration: “Joseph Bonati Desentiano Opus in pristinum restitutum a Hieronymo Zavarise Verona et auxit Contrabassi anno Domini MDCCLXXXVI.”[45][46] The ancient fifteenth-century cloister stands to the east of the church and can be reached through a door that opens at the side of the chancel.

To the left is the sarcophagus of the Gifalconi family, as can be read in the inscription below: “De Grifalchonis sunt hoc situata sepulcro // corpora nobilium clara de gente vororum // restruxere sui post an(n)os mille trecento // regli Scaligerum bis seprem tempore lustra.” On the sarcophagus is carved a cross in the center with two griffins on either side; in the lower portion is a scene of the Annunciation of Mary.

[47] In the other preserved parts of the cloister, there are several frescoed lunettes by Bernardino Muttoni (17th century) that represent a pictorial cycle: Life and Miracles of St. Albert and St. Angelus.