Quality Hotel Continental Brescia
Via Martiri della Liberta 267
Phone: (39) 030 2582721
Fax: (39) 030 2583108
Via Martiri della Liberta 267, Roncadelle, IT, 25030
- Phone: (39) 030 2582721
- Fax: (39) 030 2583108
The central part of the current façade of this church originates from a building erected in 1488, on the site of a modest chapel which held a fresco of the Madonna with Child. The construction was finished in 1581, and the fresco was moved to the main altar. The first designer of the façade, from the fifteenth century, was surely Giovanni Gaspare Pedoni. It was extended twice more in the course of the sixteenth century, and in 1560 Giovanni Antonio Agostinelli added the upper level. Numerous sculptors worked on the luminous marble façade and the interiors including Gaspare da Cairano and Giovanni Battista. The interior has a square shape which includes a Latin cross shape with three naves and a small apse influenced by the Venetian Renaissance. In the eighteenth century a Baroque decoration in frescoed stucco was added to the rich sculptural work
This Romanesque-Gothic shaped church dates from 1254-65 and has a portal topped by a rose shaped window. The basilica interior has three naves and a wooden ceiling which was reconstructed in 1949-50. Only a few frescoes have survived on the right of the church, which are mostly from the fourteenth and fifteenth centuries, including S. Margherita da Cortona, by Girolamo del Moretto (1530) and Pentecost by Romanino. Behind the altar at the end of the nave is S. Pietro, a fresco from the thirteenth century. In the apse of the presbytery is a magnificent golden frame in a table by Romanino is a picture of the Madonna with Child and Saints from 1515. The frescoes on the vaults are from the first half of the fifteenth century. In the second chapel is a large, wooden crucifix from the Lombard school of the fourteenth century. A corridor at the end of the nave leads to a small cloister from the end of the fifteenth century and to the sacristy, whose furniture is attributed to Filippo Morari (1483). There is also a notable processional cross in silver by Giovanni Francesco delle Croci (1501).
At the back of Corso Garibaldi is this beautiful building which was constructed in 1248 along the medieval walls to defend the gate of S. Giovanni. However, the higher floors were built in the 18th Century. At the foot of the tower is a splendid fountain designed in 1596 by Pier Maria Bagnadore.
This church and sanctuary can be found on Via della Grazie. The church was built in 1522 by Lodovico Barcella. The portal dates from the 15th Century and comes from a demolished church. The interior has three naves and is adorned by lavish stucco and Baroque frescoes from 1617. In the chapel at the back on the right nave there is a notable painting of the Madonna with Child and Saints by Moretto and on the left, is the Miracle of S. Martino by Francesco Maffei, in a stucco cornice. On the left of the church is a Renaissance courtyard with a fountain and a statue of the Madonna by Sante Calegari il Vecchio. From here, the sanctuary (originally used as a church) can be easily reached. The interior has been recently restored in 1880-6 by Antonio Tagliaferri. The fresco on the altar is a nativity scene which is thought to be the work of Andrea Bembo.
This building with its austere façade is found in the street with the same name, and was built in 1426. Recent restorations have preserved traces of frescoes by Pietro Marone, behind which they have found earlier decorations. The portal is from the 17th Century, the courtyard has maintained the original form from the 15th Century on the southern side, whereas the western side was rebuilt in the 16th Century.
This church (1732-45) has an unfinished façade, with a large portal. Inside the only nave is supported by columns made of pink marble. Of the two domes, the first is decorated with monochrome frescoes by Francesco Monti (1738) and Giovanni Zanardi (1767). In the sacristy is a notable sculpture of the Immaculate, which is attributed to Calegari, but could also be by G.B. Carboni.
This noble residence faces Via Dante and is one of the few of its kind that remains from the end of the 15th Century. The façade is distinguished by its sophisticated decorations and the interesting portal. The northern side was rebuilt after a violent bombing raid in 1945.
This building was rebuilt in monumental form in the 18th Century by Antonio Marchetti. A 1945 bombing uncovered the remains from the preceding structure which dates from the 14th and 15th Centuries. The east and south sides of the 16th-century courtyard survived the destruction as did the elegant 18th-century front that overlooks the garden and the first floor of the south wing which holds the portraits of the eight Martinengo women seated on the parapets of a garden and Moretto's musical trophies (1543).
Between the 16th and 18th Centuries, this street grew in importance as many noble palaces and important religious buildings were constructed here. The first part is characterized by the neoclassical uniformity of the buildings which was imposed by a commission instituted in the Napoleonic era and active throughout almost all the nineteenth century. A notable example of this style is the Avogadro building, then the palace of Bettoni Cazzago, which was built in the 17th Century, but renovated in 1730. Another important building is the Martinengo Colleoni which is now home to the courts and built in 1777 by Alfonso Torreggiani. It has a grandiose staircase, as well as a notable loggia and a salon with decorations from the 18th and 19th Centuries. Opposite, is the Corinthian style facade of the Church of San Alessandro from 1894. Along Via Cavour is the Poncaroli palace, then Carpani Glisenti, rebuilt in 1839, and then the facade of the Church of San Lorenzo, rebuilt from 1751-63 by Domenico Corbelli. On the same side is the elegant Polini building, now Guarnieri, characterized by a rich gate with statues from the Calegari school. At the end is the Averoldi building from 1544 with two beautiful courtyards, the second of which has a portico with a garden, the work of Pietro and Marc'Antonio Isabello.
The original 4th-century church was rebuilt in 1440-7. The façade has been mostly recast, and the Renaissance portal is thought to be the work of Antonio Zurlengo, while the apse has gothic forms. The Latin cross shape interior has three naves and was renovated between 1651-74 by Girolamo Quadro, who concealed the brick pillars from the fifteenth century and the original ribbed vaults. This is one of the most important churches in Brescia because of the altars, the paintings and the woodwork. In the presbytery, on the main altar is a wooden crucifix from 1480. Behind the altar and on the sides of the presbytery are some paintings by Moretto. There are also paintings by Zenale, Lamberti and Romanino, whose works include a depiction of the Madonna with Child and the Saints. Next to the church is a fifteenth century cloister with traces of the preceding Romanesque monastery.
This Arian church was rebuilt in 1438-72. The door was made by skilled workers following the designs of Battista da Milano; the crown and the statues are by Antonio Calegari (18th Century); the large rectangular windows of the apse are decorated with multicolored terracotta. Inside, one of the naves (with Gothic-style vaults and pilasters), is entirely covered with frescoes by Pompeo Ghitti (1683); in the presbytery, behind the main altar, is the altar piece by Francesco Prato (Saint Agatha on the cross between Saints Peter, Paul, Lucia and Apollonia 1522) and above there are large frescoes, probably the work of Andrea Bembo (The Crucifixion, The Nativity, Saint James The Apostle and Abbot San Antonio, 1475).
The present neoclassical facade of this church dates from its reconstruction in 1752-80. The luminous interior has one nave and holds important works such as the Eucharist Christ by Moretto, 1541. In the apse is a large marble cornice which is a early masterpiece by Titian, depicting Jesus, Gabriel and the Saints from 1522. Other works of interest include Epiphany by G.B. Pittoni, 1739-40 and in the second chapel is the Coronation of Maria and Four Saints, one of Moretto's best works, in luminous color. In the sacristy are the Magi Kings, two paintings in tempera by Romanino. In the presbytery are inlaid benches from the beginning of the 15th Century. Opposite the church is the elegant façade of the Baroque Fe d'Ostiani Palace with its marble portal.