to Mantua. CREMONA. 33. Route. 207
frescoes of his assistants Altobello da Melone and Gian Franc. Bembo ahow
the influence of Romanino (p. 220) and Pordenone (p. 291), who worked aide
by side with them in the cathedral. The traditions of Boccaccino were
continued by his son, Camillo Boccaccino, and by Galeazzo Campi (d. 1536).
The younger Campi, Giulio and Antonio, were mainly subject to the sway
of Giulio Romano. Cremona was the birthplace of Sofonisba d'Anguisciolu
(1535-1626), who, like her five sisters, practised the art of painting, and
was highíy esteemed by her contemporánea. She afterwards retired to
Genoa, and even in her oíd age attracted the admiration of Van Dyck.
In the Piazza oel Comune (Pl. F, 4) rises the Torrazzo, a tower
397 ft. in height, erected in 1261-84, and connected with the cath¬
edral by a series of logge. Extensive view from the top. — Oppo¬
site the tower is the Gothic *Palazzo Pubblico (now the Municipio)
of 1206-45 (restored; flne Renaissance portal), containing a few
pictures by masters of the Cremona school and a rich marble chim-
ney-piece by Pedone (1502). Adjacent is the Gothic Palazzo de'
Gonfalonieri or de' Giureconsulti, oí 1292.
The "Cathedral (Pl. F, 4), a vaulted structure in the Roman-
esque-Lombard style, erected in 1107-90, has a rich main facade
enibellished with columns (partly remodelled in 1491) and tasteful
brick facades on the transepts, especially the S.
The Interior with its aisles, and transepts also flanked with aisles
(restored in 1905), is covered with frescoes by Boccaccio Boccaccino (ca.
1506-18), Romanino (1519-20), Pordenone (1520-22), and later masters of the
Cremona School, such as Camillo Boccaccino, Altobello da Melone, Pietro and
Gian Franc, Bembo, the Campi, and Gatti. Over the arches of the nave,
on both sides, are long series of frescoes. Left wall, above the first four
arches: Boccaccio Boccaccino, Life of the Virgin, in eight scenes; 5th arch,
Gian Francesco Bembo, The Magi, and Presentation in the Temple; beyond
the organ, Altobello da Melone, Flight into Egypt, and Massacre of the
Innocents; above the last arch, Boccaccino, Christ teaching in the Temple.
The colossal figures of Christ and four saints in the apse are also by
Boccaccino. Right wall: Melone, Last Supper, Christ washing the Disciples'
feet, Christ on the Mt. of Olives, Christ taken by the soldiers, Christ be¬
fore Caiaphas; above the 4th and 5th arches, Romanino, "Christ led out
to be crucified, Scourging of Christ, Crown of Thorns, Ecce Homo; above
the last three arches, towards the facade, Pordenone's three celebrated
•Passion Scenes: Christ before Pilate,* Christ and St. Verónica, Christ
nailed to the Cross. On the front wall, a colossal Crucifixión and En¬
tombment by Pordenone. — The two pulpits are embellished with reliefs
from an oíd altar, by Amadeo (1482). — The choir contains fine Renais¬
sance stalls by Giov. Maria Platinu and Pietro dalla Tarsia (1482-90). The
high-altar-piece (Assumption) ia by Bern. Gatti. The chapel of the Host
(1569), to the right of the choir, is elaborately freacoed by the Campi. —
In the right transept is a fresco, by Giulio Campi, representing trie hiatory
of Esther. — First chapel to the right: altar-piece by Pordenone, Madonna
between two saints. — In the crypt stands the sarcophagus of SS. Peter
and Mareellinus, by Bened. Briosco (1507).
In the vicinity are the octagonal Battistero (Pl. F, 4) of 1167,
and the Campo Santo, in the pavement of which are curious oíd
mosaics (Hercules and Nessus; Piety wounded by Cruelty; Faith
tearing out the tongue of Discord, etc.).
The adjacent Piazza Roma(P\. E, F, 3) is laid out with gardens
(music on Sun. and Thurs. evenings).
A few hundred yards to the N.W. of the Piazza Roma, in the Via
Ugolani Dati (Pl. E, 2), stands the oíd Palazzo Dati, erected about 15S0 in