190 Route 33. BRESCIA. Duomo Nuovo.
an obstinate defence. Five years later it was restored to the dominions
of Venice, to which it belonged till 1797, but it has never recovered its
ancient importance. On 1st April, 1849, the town was bombarded and
taken by the Austrians under Haynau, and some of the buildings still
bear traces of damage done on that occasion.
Brescia occupies a place of no little importance in the history of art
from having given birth to Alessandro Bdonvicino, surnamed II Moretto
(1498-1555), who appears to have studied exclusively at his native place,
and whose teacher is said to have been Floriano Ferramola of Brescia. It
has been asserted that he was influenced by Titian and the Roman school,
but for this there is no reason. Like the Veronese masters, he is distin¬
guished from the Venetian school, with which he has generally been
classed, by the comparative soberness of his colouring ('subdued silvery
tone1), notwithstanding which he vies with the Venetians in richness and.
brilliancy, while he sometimes reveals the possession in full degree of the
ideality of the golden period of art. Buonvicino began his career as a
painter in his 18th year. He rarely extended the sphere of his labours
beyond his native place, and Brescia is therefore abundantly stored with
his works. The churches here (such as S. Clemente, p. 193) display his
fertility, both as a painter 'al fresco1 and in oils, forming quite a museum
of his pictures. S. Giovanni Evangelista (p. 192), S. Nazaro e Celso
(p. 194), and the Galleria Tosio (p. 193) all contain admirable specimens
of his powers. Another eminent master of the school of Brescia, and a
contemporary of Buonvicino, was Girol. Romanino (1485-1566). — Brescia
also contains several interesting antiquities (p. 192).
From the station the town is entered at its S.W. corner by the
Porta della Stazione (PI. A, 6), whence the Corso Vittorio Emmanuele
leads N.E. to the Piazza Vecchia and the Piazza del Duomo.
The *Duomo Nuovo (PL 5; D, 4), or episcopal cathedral, begun
in 1604 by Lattanzio Gambara (but the dome not finally completed
till 1825), is one of the best churches of its period.
Interior. By the first pillar on the right is the large -Monument of
Bishop Nava (d. 1831), with groups in marble and a relief by Monti of
Ravenna; by the first pillar on the left the monument of Bishop Ferrari.
The second altar on the right is adorned with modern statues in marble
of Faith by Selaroni, and Hope, by Emanueli, and a modern painting,
Christ healing the sick, by Gregoletti. Then (3rd altar on the right) a
sarcophagus with small "High-reliefs, date about 1500, containing '■Corpora
D. D. Apollonii et PhilastrV, transferred hither in 1674 from the crypt of
the old cathedral. — High altar-piece an Assumption by Zoboli, designed
by Conca. In the dome the four Evangelists, high reliefs in marble.
Passing through a door between the 2nd and 3rd altar, we
descend by 25 steps to the Duomo Vecchio (PI. 6; D, 4), generally
called La Rotonda, situated on the low ground to the S. of the
Duomo Nuovo (if shut, apply to the sacristan of the new cathedral,
who lives at the back of the choir of the latter).
This massive structure is circular, as its name imports, with a pas¬
sage round it, surmounted by a dome, and resting on eight short pillars
in the interior. The substructure is very ancient (9th cent.), while the
dome and cupola (PiOmanesque) date from the 12th century. The tran¬
sept and choir with lateral chapels at the back were added at a very
early period. On both sides of the pulpit are statues by Alessandro Vittoria.
At the second altar on the right is the monument of Bishop Lambertino
(d. 1349) with reliefs. Altar-piece, an * Assumption by Moretto (1526). —
Below the dome is the crypt, or Basilica di S. Filastro, supported by
Opposite the E. side of the Duomo Nuovo is the entrance to
the *Biblioteca Qairiniana (Biblioteca Comunale, PI. 19; D, 4; fee