The building of the church began in 1519 and it is distinguished by its altars dedicated to the arts and crafts. Many famous people were buried here, including Benedetto Marcello and Gasparo da Salò. The facade, crowned by three lantern spires in brick, has three XVI century doorways, the central one flanked by majestic columns. The interior is divided into a wide nave and two broad aisles and has a raised chancel; when this was built in 1978 a bridge was constructed over the road to the north to facilitate the building work. The inlaid choir-stalls in the chancel, the work of Clemente Zamara (1581), are extremely fine while there is a valuable organ made by Graziadio and Costanzo Antegnati (1581) to the left of the choir.
The Cinefotoclub National Museum of Photography (founded in 1953) preserves a rich heritage of vintage photographs and cinema memorabilia. Its 8,000 pieces tell the story of photography from 1826 to the digital era, and the history of movie making from amateurs to professionals.
The Archive holds over 60,000 photographs: from glass panes to negatives, from prints to slides, to digital software. A very important section is the exhibition dedicated to photographs in single copy: daguerreotypes, ambrotypes, ferrotypes.
Palazzo Martinengo is an aristocratic building located on the crossing between Via Musei, an ancient Roman road, and Piazza del Foro, where the Martinengo Cesaresco family settled in the 16th century. The severe façades of the two main parts of the building towards Via Musei and Piazza del Foro were designed in the 17th century according to the typical style of the previous century, traces of which can be found on the inside. Through the different structures of the various periods that can still be seen in the underground rooms of the building, the visitor can witness the complex building processes that the area had been subjected to between the iron age and the middle ages, with the 16th century building then built within a completely different urban plan and a different floor level.
The church, originally built in the 16th century, was reconstructed in 1640 and, after a few alterations in the first half of the 18th century, when the ornamental sculptures and paintings where added to the façade, was finally completed in 1825 when the imposing cross was erected on the cupola. In the second half of the 17th century the image of the “Virgin of the Terragli” was placed on the magnificent high altar, one of the finest in the city, and behind it was built a chapel similar to the Santa Casa di Loreto.
The church was completely restored between the end of the 16th century and 1471. In 1517 the Dominicans took possession of the monastery and gave it a magnificent appearance. In 1836 Rodolfo Vantini transformed the interior along neo-classical lines and added a large barrel vault. The altars along the nave are enriched with important works by Moretto, who is buried here: ”St. Ursula and the virgins”, ”St.
The church belongs to a monastic complex which was built at the end of the 15th century on the ruins of previous religious buildings overlooking the Roman Theatre. The plain brick façade incorporates a marble portal decorated with bas-reliefs and the coat-of-arms of the Martinengo family, who partly financed its construction. On the ceiling there are still traces of the fresco of the “Annunciation” by Moretto. The interior consists of a single nave, richly adorned with 15th- and 16th- century frescoes.
The church is situated on the green slopes of the Cidneo hill, inside the monastery of the Carmelite friars, not far from the Castle. The 16th-century façade in Botticino marble was designed by the architect Antonio Medaglia from Como and is decorated with statues of the apostles Peter and Paul set into niches. The Renaissance-style interior is harmonious: the nave is flanked with chapels situated behind columns whose arches are decorated with bas-reliefs; it leads up to the chancel which is embellished with large canvases (1566) by the Brescian painter Ricchino.
San Giorgio is one of the better preserved and at the same time lesser known Romanesque churches in Brescia, standing well hidden behind the spectacular 16th century façade that acts as background to Piazza San Giorgio. It stands on the steep Cidneo slope, just outside Porta Bruciata, next to the Roman walls that climb towards the castle. The building works carried out during the Baroque period did not change the dimensions of the three-aisled church, with its three-apse presbytery and a bell tower to the east. Behind the church – under which passes the double conduit of the Roman aqueduct of Mompiano – can still be seen the remains of the large three-storey rectory dating back to the middle ages.