Crema

Crema: Duomo
The visit of Crema may start from his heart, Piazza Duomo, which remain the testimonies of the medieval city, entered into the architectural fabric of the Renaissance.
To the south built a curtain reveals the original typology of home-workshop with narrow housing units huddled over a long porch where you overlook the business.
To the north of the Guelph Tower (1286) has compact square windows on the ground floor with railings, included in imitation ashlar masonry of the Renaissance.
The two wrought iron balconies of the first floor are topped by the Lion of St. Mark.
To his right, the Praetorian Palace (1547), the former residence of the Venetian podestà.
A baroque marble portal (1634) frames the first arc and introduces to the grand staircase.
The east side is occupied by the Bishop's Palace, built in 1548-49 by notaries, lawyers and merchants, was donated in 1580 to the newly created diocese.
The facade is similar to that of the Town Hall is a loggia with five arches with terracotta friezes, topped by a double set of windows with a central balcony on the main floor between the arms of the Venetian families Diedo and Emo, from which they came the first three Crema of bishops.
The west side is entirely occupied by the Palazzo Comunale (1525), a brilliant synthesis between austerity and lightness Lombard archi-toned Venetian.
The ground floor features a portico with columns in Istrian stone adorned with composite capitals and round arches. [...]


Crema: Torrazzo
A string course of Greek terracotta tiles announces two main floors, where rows of mullioned windows alternate with mullioned windows adorned with marble elements.
The Town Hall is interrupted by Torrazzo, grand arched entrance to the square, bearing on one side the coat of arms of the city and the statues of St. Victorian and St. Pantaleon, the patron saint of Crema, and on the other the lion of St. Mark.
At the center of the square stands the Cathedral, built between 1284 and 1341 by workers Comacine on the ruins of the one destroyed by Barbarossa in 1160.
The front monocuspidata is divided into three large arches with Romanesque elements (portal, capitals with vegetal motifs, subject to thirty-three columns cusp) and Gothic (rosette in white and pink marble columns with sixteen radiant intertwined).
The portal is complemented by the little group of the Madonna and Child with Saints John and Pantaleon .
The southern entrance is topped by Madonna instead of the apple, so called from the apple in his hand, the work of masters from Campione in the first half of the fourteenth century.
The exterior brick has faint traces of ancient murals.
The bell tower is also used as a lookout tower, the cathedral is contemporary with the exception of the crown (1604).
Inside, cylindrical pillars supporting arches originating six vaults with ribs cooked.
Renewal of the eighteenth-century baroque remains only the chapel of the Madonna (the first left), the remaining marble vestments were removed revealing fragments of the original decoration.
Crema: Santissima Trinita'
The altarpiece of the chapel of Our Lady, built in the early fifteenth century by Rinaldo from Spino, was renewed by Vincenzo Civerchio (1522) and extended by Mauro Picenardi in the eighteenth century.
Fine marble statues of David and Solomon on the sides of the blade, perhaps John Sanz (1785) in the chapel to the left of the sanctuary houses a venerated wooden crucifix of the thirteenth century that the Ghibellines ( March 1448 ) would have liked to burn.
The Crucifix would then retracted his feet the nail staring at them to cross.
Back of the high altar stands a magnificent example of the art of organ Crema made ​​by Tamburini (1963), which frames the Annunciation of Civerchio Vincent (1523).
The cathedral also preserves important works of Francis Bissolo and Carlo Urbino (XVI century), Guido Reni and John the Baptist Lucini (XVII century), Mauro Picenardi (XVIII century).
Leaving the cathedral, go under the Praetorian Palace to visit the church of San Bernardino, erected in 1518.
The simplicity exterior contrasts with the rich decorative effect that, in fourteen chapels, frescoes unfolds, paintings and stucco artists Crema (Civerchio, Ferrario, Pombioli, Barbelli father and son, Lucini, Brunelli) and not (Peter Marone , Uriel Cats, John Galliari Martin Cignaroli).
The architecture of the vast vault is decorated in monochrome made ​​in 1868 by Luigi Manini during the restoration after the earthquake of 1802.
From San Bernardino and you walk away Frecavalli via Ponte Furio to climb in Via XX Settembre and dedicate a quick look at the pretty chapel of St. Anthony (1779) and observe, at the former palace Bonzi-Stramezzi (number 68), the once a store painted by Mauro Picenardi pair of putti and cherubs with the dove of the Holy Spirit.
Crema: S. Maria
Later we admire the church of the Holy Trinity, built between 1737 and 1740 to a design by Andrea Nono.
It has two sides to the south and west richly decorated Rococo: by pilasters with composite capitals, niches, putti, frames mixtilinear, angelic heads, swirls and spirals plant.
On the bell tower dominates the Savior that rotates with the wind.
Inside Fabrizio Galliari (1709-90) he painted the ceiling of the nave in the Baroque style incorporating three medallions of Joseph Crane and transforms illusion of the apse and amplifying rounding.
Below an ornately carved wooden choir (XVII century) on the sides of the chancel boxes Savanni Francis (1723-72), paintings on the walls of Callisto Piazza, Fedrighetto, Thomas Pombioli, Giuseppe Peroni and Pompeo Batoni.
On the opposite the Tomb of Bartholin Terni sculpted by Lorenzo Bregno (1518).
A short distance away you notice Ombriano Gate, one of the two gates of the ancient walls rebuilt in 1805-7 in neo-classical style by the architect Faustino Rhodes.
Taking Via delle Grazie, we arrive at the Champ de Mars, the green playground area which retains a portion of the Venetian walls (1488-1508).
The Tower housed a sacred image of the Madonna painted by Giovanni da Caravaggio, then moved to the nearby church of Our Lady of Grace (1601-11).
The interior decoration of the church (Gian Giacomo Barbelli 1641-43) is dedicated to the Virgin, and is marked by spectacular effects which, in the center of the ceiling, opening to the sky where stands the Assumption of the Virgin.
Crema; Teatro San Domenico
The play of perspective and trompe carrying a illusory dimension, where the structure takes on greater amplitude.
In the corners of the ceiling, between musical angels, are painted in monochrome of the four evangelists.
In the counter are painted in monochrome San Rocco and San Sebastiano, dominated by Adoration of the Magi, refined representation of the nativity of Jesus Along the side walls, fake galleries appear in the apostles, in the presbytery with a frieze of putti and scrolls and a fresco monochrome praise the virginity of Mary, in the time of the Coronation of the Virgin.
Released from the sanctuary, holding the right, walk the streets Seminar, Crocifissa Rose and Alemanio Fini to introduce us to the left in the square Premoli.
Shaded by the branches of a bicentennial cedar of Lebanon, we find Patrini-Pozzali palace, built between the late seventeenth and early eighteenth century by the will of Domenico Patrini.
Two long rows of overlapping windows, highlighted by frames slightly protruding, mark the impressive façade dominated by a high portal surmounted by a balcony.
The north side of the square is occupied by the palace Vimercati Sanseverino.
The opposite, in classical Roman style, overlooking Via Benzoni with a grand doorway flanked by fluted half-columns supporting a broken pediment with double coat of arms Vimercati Sanseverino.
The ground floor windows are topped by emblems of closely related families, those on the main floor greet the busts of the most important characters of the family.
Crema: Santuario Santa Maria delle grazie
From Piazza Premoli enter via Aurelio Buso and travels alongside the former church of Santo Spirito and Santa Maddalena (1511-23).
The project dates back to the architect Bramante and sculptor Agostino De Fondulis, collaborated King John Battagio and friend of Leonardo da Vinci.
The building is brick, has a Latin cross plan and is concluded by a dome supported by an octagonal drum bass.
Next, the small cloister of the fifteenth-century Santo Spirito hospital.
By placing in the Piazza Trento e Trieste you see the south side of the building Benzoni-Donati, built in the early sixteenth century by Socinus Benzoni, who in 1509 was home to King Louis XII of France. Here also lived the Unnamed Manzoni, the son of Francesco Bernardino Visconti Paola Benzoni and great-grandson of Socinus.
The palace was rebuilt in the seventeenth century in the Baroque style, the low building that connects the two wings was added in 1914.

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