Church of Sant'Abbondio

Web site
www.diocesidicremona.it
Phone
0372 22554
Street and number
Via Umiliati, 2
City
CREMONA
Country
ITA

In 1624, the noble jurist G. Pietro Ala from Cremona commissioned, next to the church, on the area where once was a graveyard, the chapel called Loreto Sanctuary, as it is a perfect imitation of the Holy House of Loreto.
The Mannerist facade is attributed to F. Dattaro who marked the clear surface with pilasters and wide geometrical panels, motifs that also decorated the 17th century Loreto Sanctuary. The fine unicuspid bell tower with pointed triple lancet windows still preserves its original Romanesque-Gothic aspect.
The convent was commissioned by the Humiliated in 1511: it preserves the magnificent Bramantesque cloister attributed to architect B. De Lera. Arches on the ground floor and a balcony on the upper order, with intense chiaroscuro paintings and dichromatic terracotta materials and decorations.
It is worth mentioning the Mannerist frescoes by Giulio Campi, Molosso and Sammachini.
CHURCH OF SAINT MAGDALENE
It was built in 1484 during the architectural renovation of the city according to the Renaissance style. Inside, the presbytery is covered by a graceful umbrella vault and preserves a rare decoration with sprays of leaves and flowers typical of the Late Gothic period, which continues in the vault of the nave. The church also preserves precious 15th-16th century frescoes, a polyptych by Tommaso Aleni (about 1503), paintings by Vincenzo Campi, and by Genovesino and 17th and 18th century wooden statues.
CHURCH OF SAINT AMBROSE
The adjacent sanctuary dedicated to Saint Anthony of Padua, built only in 1961, following the original plan drawn twenty years earlier by architect Giovanni Muzio, is certainly the last great religious building built in Cremona that can be considered a work of art, both for its intrinsic value and for its historical relevance.
This church clearly illustrates the poetics of construction of architect  Giovanni Muzio (1893-1982) who dedicated a substantial part of his work to modern religious architecture.
All decorative and liturgical elements superimposed to the architecture show precise common purposes as they were designed by Muzio in a harmonious ensemble with the walls.

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