224 Route 38. BKtíSUiA. au. uwzzaro e Celso.
named street, to the left, is the Torre della Pallata (Pl. 21; B, 2),
a mediaeval tower (100 ft. high) with modern pinnacles. — Near a
fonntain to the right, in the Via S. Giovanni, is San Giovanni Evan¬
gelista (Pl. B, 2), with admirable pictures.
We begin on the right. 3rd Altar: Moretto, Massacre of the Innocents,
a youthful work (copied from the engraving by Marcantonio). In the choir,
behind the high-altar: Moretto, *John the Baptist, Zacharias, SS. Augustine
and Agnes; in the centre, the Madonna; above, God the Father (unfor-
tunately retouched). — In the next chapel (Corpus Domini): Civerchio (?),
Entombment, in a magniflcent Renaissance franie (1509); in the lunette
above, Coronation of the Virgin, by Romanino. 'Frescoes on the right by
Moretto (youthful works of 1521, showing the influence of Romanino):
Collecting the manna, Elijah, and Last Supper (lunette), on the pilasters,
St. Mark and St. Luke, and six prophets above. Those on the left are by
Romanino: Raising of Lazarus, Mary Magdalen before Christ, and the Sacra-
ment (lunette), on the pilasters, St. John and St. Matthew (the latter dam-
aged), and six prophets above. — In the Battistero (in front, to the left):
Francesco Francia, -The Trinity adored by saints, one of the artist's flnest
We next proceed by the short Via Borgondio, to the N.E., to visit
Santa Mama del Cakmine (Pl. B, C, 2), dating from the 15th cent.,
with a Renaissance portal and flne brick ornamentation on the
facade. The lunette contains a fresco (Annunciation) by Ferramola.
In the third chapel on the right, Fathers of the Church, a ceiling-
painting by Vine. Foppa.
To the W., at the end of Via San Rocco, is the church of Santa
Maria delle Grazie (Pl. A, 2), which dates from 1522, with the
exception of the main portal, which is older.
lst altar to the left, Madonna in clouds, with four saints below, by
Foppa; over the high-altar, a Nativity of the Virgin, by Moretto; chapel to
the right of the choir, Madonna in clouds, below, SS. Sebastian, Ambrose,
and Rochus by Moretto. — The church is adjoined on the left by a small
early-Renaissance court and a modern Romanesque pilgrimage-chapel, by
The Corso Carlo Alberto (the fourth side-street in the Corso
Garibaldi, p. 223) leads to the S. to the Palazzo Fe (18th cent.) and
the church of Santi Nazzaro e Celso (Pl. 13; A, 3), built in 1780
and containing several good pictures.
•High-altar-piece by Titian, in flve sections, tbe Resurrection being
the principal subject; on the right, St. Sebastian, on the left, St. George
with the portrait of Averoldo, the donor (1522); above these, the Annun¬
ciation ('long an object of study to the artists of the Brescian School':
C. & C). — Second altar on the left, "Coronation of the Virgin, with SS.
Miehael, Joseph, Nicholas, and Francis below, by Moretto (covered; 'this
altar-piece is the very best of its kind, cold perhaps in silver-grey surface,
but full of bright harmony and colour': C. di ft). — Third altar on the
right, Christ in glory (1541); fourth altar on the left, Nativity, with SS.
Nazarius and Celsus, also by Moretto, sadly damaged. — In the sacristy,
above the side-door, Predella by Moretto, Adoration of the Child, Madonna
and ángel in medallions. On the organ-wing, an Annunciation by Foppa.
Above the side-doors of the main portal of the church is a large painting
of the Martyrdom of Nazarius and Celsus, ascribed to Foppa.
A few yards to the E., in the Corso Vittorio Emanuele, is the
small church of the Madonna dei Miracoli (Pl. 5; B, 3), with four
domes and a rich facade, an early-Renaissance building (1488-1523)