On the South, a wall curtain reveals the unique house-workshop type of construction, featuring tight residential units stacked up on a long portico overlooked on by the shops. On the north, the Torre Guelfa (1286) features on the ground floor thick, solid square grilled windows which are part of the wall surface, a typical renaissance mock ashlarwork. The two wrought iron small balconies on the first floor are dominated by the Lion of St. Mark. On its right stands the Palazzo Pretorio (1547), the former residence of the Venetian podesta. A baroque marble portal (1634) crowns the first arch and introduces visitors to the monumental staircase. The Eastern side is occupied by the Palazzo Vescovile (Bishop's palace). Built in 1548-49 to be used by notaries, jurists and merchants in 1580 it was donated to the newly established diocese. The facade is similar to the Palazzo Comunale facade. The Western side is completely occupied by the Palazzo Comunale (1525), a brilliant synthesis between Lombard austerity and Venetian architectural lightness.
The Palazzo Comunale is "interrupted" by the Torrazzo, a monumental arch that leads to the square, on a side it features the city's emblem and the statues of San Vittoriano and San Pantaleone, Crema's patron saint, while on the other side stands St. Mark's Lion.
At the centre of the square stands the Duomo, the cathedral built between 1284 and 1341 by Como workers on the ruins of the cathedral destroyed in 1160 by Barbarossa. The single-cusp front of the church is divided in three large round arches with Romanesque elements (portal, capitals with vegetal decorations, loggia with thirty-three small columns) and gothic elements too (white and pink marble rose-window with sixteen radiating mullions and traceries).
On the back of the high altar stands a magnificent example of Crema organ-making art manufactured by the Tamburini (1963), that crowns the Annunciation by Vincenzo Civerchio (1523).

After leaving the cathedral, go beyond the Palazzo Pretorio to visit the San Bernardino church, built in 1518 to commemorate the San Bernardino da Siena's coming to Crema. The simple exterior contrasts with the rich internal decorations that, in fourteen chapels shows a plenty of frescos, paintings and stuccos by Crema artists, from Civerchio to Pombioli and the Barbellis, father and son. The architecture of the broad vault is further highlighted by monochrome decorations prepared in 1868 by Luigi Manini during the reconstruction works after the 1802 earthquake.
From San Bernardino go on Via Frecavalli and Via Ponte Furio and then upwards on Via XX Settembre and take a quick look to the gracious Sant’Antonio oratory (1779) and take also a look, once you get to the former Bonzi-Stramezzi palace (street number 68), also at the vault of a shop painted by Mauro Picenardi with couples of puttos and cherubs and the Holy Ghost in the form of a dove.
Further on it is also possible to admire the Santissima Trinità church, built from 1737 to 1740 upon a project by Andrea Nono. On the South and on the West it features two facades, richly decorated in rococo style: pilaster strips with composite capitals, niches, puttos, mixtilinear mouldings, angel heads, volutes and vegetal spirals.
A short distance away it is possible to see Porta Ombriano, one of the two doors in the ancient curtain wall, rebuilt in 1805-7 in neoclassical style by the architect Faustino Rodi. Walking on Via delle Grazie you can then reach the Campo di Marte, a green area used as a playground which still shows a part of the Venetian walls (1488-1508). The Torrione della Madonna used to host a sacred image, painted by Giovanni da Caravaggio, later transferred in the nearby Beata Vergine delle Grazie church (1601-11). The internal decorations in the church (Gian Giacomo Barbelli 1641-43) is dedicated to the Virgin Mary and use strong impressive effects that open up into a clear sky in the centre of the vault, where the Assumption scene triumphs.
Once you leave the sanctuary, keep to the right and walk along Via Seminario, Via Crocifissa di Rosa and Via Alemanio Fino then turn left to enter Piazza Premoli. There, peacefully shadowed by the foliage of a bicentennial Lebanon Cedar, you will see the Patrini-Pozzali palace, built somewhere between late 17th century and early 18th century upon request by Domenico Patrini. Two long rows of overlapping windows, highlighted by slightly jutting out mouldings rhythmically draw the imposing facade, dominated by a tall portal with a small balcony over it.
The Northern side is occupied by Palazzo Vimercati Sanseverino. The front has a classic Roman style and overlooks Via Benzoni with a majestic portal flanked by grooved semi-columns that hold a double broken tympanum with the Vimercati Sanseverino crest. The crests of the related families overlook the ground floor windows while the windows on piano nobile feature busts of the family's most important members.
From Piazza Premoli you can then enter in Via Aurelio Buso and walk on the side of the former Santo Spirito e Santa Maddalena church (1511-23). This Bramante-style project is the work of architect and sculptor Agostino De Fondulis, who worked with Giovanni Battagio and was friend with Leonardo da Vinci. The building has a Christian cross shape, facing brick walls, and is completed by a dome, supported by a low octagonal drum. On the side there is the small cloister of the 15th century Santo Spirito hospital. By walking further along in Piazza Trento e Trieste you will see the Southern side of the Benzoni-Donati palace, built in the early 16th century upon request by Socino Benzoni who, in 1509, hosted Louis XII of France. This is also the place where the Betrothed's Unnamed, actually Francesco Bernardino Visconti, son of Paola Benzoni and great-grandson of Socino lived. The palace was restored in the 18th century in late baroque style; The low height building that unites the two wings has been added in 1914.