The Grey and the Gallant: An Original Graphic Novel
A complete guide to the Cathedral of Cremona, in a handy format to accompany the visitor in the discovery of one of the most important churches in Lombardy. Santa Maria Assunta in Cremona, among the great Romanesque cathedrals of the Po Valley in northern Italy, is not only one of the most renowned for its artwork, but also one in which the slow stratification of time is most evident. The names of the greatest masters, in the first person or in the medieval sense of workshop, follow one another in quick succession: Wiligelmo, Antelami, the excellent Marco Romano, the Campionesi, enrich the fa ade with grandiose and superb sculptures, aristocratic and earthy. In the interior, the cycle of frescoes in the main nave with the Stories from the Life of the Virgin and Christ shows, as nowhere else, the symptoms of the pressing renewal taking place in early 16th century Italian painting, from the faultless classicism of Boccaccio Boccaccino to the eccentric Altobello Melone and Gianfrancesco Bembo, the Brescian Romanino and the Friulian Pordenone, who is given the grand finale with the resounding Crucifixion on the counter fa ade. Alongside these two poles, the fa ade and the nave, there are masterpieces from all centuries: paintings, sculptures, and goldsmithing, including frescoes and canvases by the Campi, the greatest exponents of the 16th-century Cremonese school of painting.
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The Grey and the Gallant: An Original Graphic Novel—
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Description
A complete guide to the Cathedral of Cremona, in a handy format to accompany the visitor in the discovery of one of the most important churches in Lombardy. Santa Maria Assunta in Cremona, among the great Romanesque cathedrals of the Po Valley in northern Italy, is not only one of the most renowned for its artwork, but also one in which the slow stratification of time is most evident. The names of the greatest masters, in the first person or in the medieval sense of workshop, follow one another in quick succession: Wiligelmo, Antelami, the excellent Marco Romano, the Campionesi, enrich the fa ade with grandiose and superb sculptures, aristocratic and earthy. In the interior, the cycle of frescoes in the main nave with the Stories from the Life of the Virgin and Christ shows, as nowhere else, the symptoms of the pressing renewal taking place in early 16th century Italian painting, from the faultless classicism of Boccaccio Boccaccino to the eccentric Altobello Melone and Gianfrancesco Bembo, the Brescian Romanino and the Friulian Pordenone, who is given the grand finale with the resounding Crucifixion on the counter fa ade. Alongside these two poles, the fa ade and the nave, there are masterpieces from all centuries: paintings, sculptures, and goldsmithing, including frescoes and canvases by the Campi, the greatest exponents of the 16th-century Cremonese school of painting.
