208 Routt 33. CREMONA.
the late-Renaissance style of Gal. Alessi and now a hospital. The court
and staircase are very fine. To the E., at No. 7 Corso di Porta Venezia
is the Monte di Pietá (Pl. G, 2, 3), dating from the 15th century. The
elegant brick facade is embellished with a charming frieze of Nereids
coats-of-arms, and portrait-heads, and in the court is a frieze of Bacchantes!
— Farther on, near the Porta Venezia (p. 209), is the church of Sant'
Abbondio (Pl. G, 2), with an early work (1527) of Giulio Campi (Madonna
with SS. Nazarius and Celsus) and a Coronation of the Virgin, by Alto-
bello da Melone. In the sacristy are some cabinets by G. M. Platina.
From the Municipio the Via Ala Ponzoñe leads to the W. to the
Palazzo Reale (formerly Ala di Ponzoñe), which contains the in¬
teresting Museo Cívico (daily 9-3, except Sun.; 50c).
On the Staircase are sculptures, portions of frescoes, etc. — First Floor.
From an Anteroom, with drawings and small paintings, we pass through
a handsome Renaissance doorway to Room I., which contains enamels,
bronzes, miniatures, book-bindings, ivory carvings, and terracottas. —
Room II. Medals and plaquettes; also Trinity, by Vine. Civerchio, and other
paintings. — Room III. Paintings: Camillo Boccaccino, Madonna and two
saints; Gian Fr. Bembo, Madonna; C. Crivelli, San Nicoló of Tolentino (re¬
touched) ; Boccaccio Boccaccino, Madonna enthroned with SS. Anthony of
Padua and Stephen (1518); Gal. Campi, Madonna and two saints. —RoomIV.
Lor. di Gredi ('i), Madonna. — In the following rooma are works by early
Netherlandish masters (Jean Provost, Madonna), paintings, sculptures, etc.
On the Second Floor are oíd prints, views of Cremona, weapons,
uniforms, and natural history collections.
In front of the museum is a Marble Statue of Amilcare Ponchielli
(1834-86), a native of the district and composer of 'Gioconda'. —
Farther up the Corso Vitt. Emanuele, in the second cross-street to
the left, is the church of San Pietbo al Po (Pl. E, 5), built in 1549-
70 by Ripari. Over the third altar to the right, Madonna and saints,
by Gian Franc. Bembo (1524). The rich ceiling-decorations are by
Ant. Campi and other masters.
In Sant' Agostino (Pl. D, 3), a church of the 14th cent., with
aisles and barrel-vaulting: flrst chapel on the right, Pietá, by
Giulio Campi; last side-altar but one, Madonna and two saints by
Perugino (1494); left, between the 3rd and 4th altars, portraits of
Francesco Sforza, and between the 4th and 5th, of his wife Bianca
Maria Visconti, frescoes (retouched) by Bonif. Bembo (15th cent.).
The Via Guido Grandi (passing on the right the small church
of Santa Margherita, built and painted by Giulio Campi, 1546; and,
farther on, to the left, No. 1, the Palazzo Trecchi, in the early-
Renaissance style) leads henee to the Piazza Gabibaldi (Pl. C,
D, 2), with the church of Sant' Ágata (by the entrance-wall, Mon¬
ument of Franc. Trecchi, in the Renaissance style, by Gian Cristo-
foro Romano, 1502; beside the high-altar, four large frescoes by
Giulio Campi, painted in 1536 in the style of Pordenone). From
the piazza the Corso Garibaldi leads to the N.W- to the Porta Milano
(Pl. C, 1) and the station. — Near the gate, adjoining the church
oí San Luca (right), is the Cappella del Cristo Risorto, a tasteful
brick ediflee of the early Renaissance (1503); the interior, renewed
in the baroque style, contains frescoes of 1590.
Not far from the Porta Milano, in the Via Bertesi (Pl. C, D, 1),