Santa Maria Maggiore. BERGAMO. 34. Route. 211
Crucifixión, dated 1514). — The Via Nuova runs in a straight
direction to the Porta Sant' Agostino, while the Via di San Tommaso
leads to the right to the Accademia Carrara (see p. 212).
An avenue of chestnut-trees named Strada Vitt. Emanuele (cable
tramway, p. 209) conneets the new town with the high-lying —
Citta Alta, the ramparts (Bastioni) oí which have been con¬
verted into promenades and afford flne views of the plain of Lom¬
bardy and the Bergamasque Alps.
From the upper terminus of the cable - tramway we proceed
straight on by the Via Gombito to (3 min.) the Piazza Gaeibalm
(Pl. B, 1), the picturesque oíd market-place, with the Palazzo
Nuovo, in the late-Renaissance style, by Scamozzi (1611), but un-
flnished. The palace is now the Reale Istituto Técnico Vitt. Emanuele.
Opposite is the Library, in the Gothic Palazzo Vecchio, or Broletto,
the groundfloor of which consists of an open coionnade, in which is
the Monument of Torquato Tasso (p. 215).
Behind the library is the Romanesque church of Santa Maria
Maggiore (Pl. B, 2), of 1137, with ancient lion-portals by Giov.
da Campione on the N. and S. To the right of the N. portal is the
The Interior (usual entrance on the S. side) has been restored in a
rich baroque style. It containa wall-paintings by Paxino da Nova (p. 212 ;
much injured), under Flemish tapestry, and fine Renaissance * Choir
Stalls by Franc. Capodiferro (1622-32) and other artists (behind) and by
Giov. Belli (1540-77; in front). The fine intarsia work in the central panela
(usually covered) was partly designed by Lor. Lotto. — In the right tran-.ept
is a fresco, representing the tree of St. Bonaventura, by a follower of
Giotto (1347). — The right aisle contains the partly restored tomb of Car¬
dinal Longo degli Alessundri (d. at Avignon, 1319), by Ugo da Campione,
and the monument of the famous composer Donizetti (p. 210), by Vine.
Vela (1855). In the treasury (above the sacristy) are a large Crucifix (5 ft.
high) of the 13th century (?) and several works in niello.
The adjoining *Cappella Colleoni (shown by the sagrestano),
erected by G. A. Amadeo in 1470-76 in the early-Renaissance style,
has a lavishly sculptured facade, which, however, was probably
much altered when the interior was modernized in 1774.
The interior contains the tomb of the founder Bart. Colleoni (d. 1475;
p. 326), begun by G. Ant. Amadeo, with reliefs from the life of Christ.
On the top ja the gilded equestrian statue of Colleoni bv Sixtus Siry of
Nuremberg (1501). To the right is the smaller, but beautiful monument
of his daughter Medea (d. 1470), also by Amadeo, and originally in the
ctiurch of Basella. Above the altar on the right are good sculptures; to
the left, a Holy Family by Angélica Kauffmann- fine intarsia-work (covered);
ceihng-paintings by Tiepolo.
The adjoining Baptistery (on the right), by Giov. da Campione
Iqqq0-'' oriSinally in Santa Maria Maggiore, was re-erected here in
1898. In the interior are reliefs of the Passion (key in the sacristy
of the cathedral; fee 30-50 c).
Opposite is the Cathedral (Pl. B, 2; Sanf Alessandro), bnilt
by Vine. Scamozzi in 1614 on the site of an earlier edifico. First altar
tothe left: Madonna and saints by O. B. Moroni (1576); behind