The Duomo

edicated to Our Lady of the Assumption, Parma's Cathedral represents one of the finest examples of Romanesque architecture. Over the centuries a series of changes have brought about modifications to the building's structure.
A violent earthquake destroyed it in 1117 and spared only the apses. The cathedral we see today was then finished in the 12th century. The bell tower was erected in 1200 and the side chapels were added in later periods.

The austere façade consists of sandstone blocks enhanced by three rows of loggias, while the central portal is preceded by a prothyrum with column-bearing lions. Above the bell tower spire there is a gilt embossed copper angel whose original is inside the church.
The interior, in the form of a Latin cross, has a nave and two aisles on pillars with beautiful capitals and is quite an impressive sight with its magnificent frescos, women's galleries and the presbytery raised above the crypt. The extremely interesting dome frescoed by Correggio between 1526 and 1530 is dedicated to the Assumption of the Virgin, in which very soft "chiaroscuri" cancel any sense of real space. The bas-relief of the "Deposition", now embedded in a wall of the right transept, is one of the finest examples of Benedetto Antelami's work and of Romanesque sculpture. Under the transept and the presbytery is the crypt supported by columns of various materials and dimensions, with capitals decorated with plant motifs, dating back to the building's first stages of construction (end of 11th, beginning of 12th century). The mosaic fragments with fish and geometric shapes seen in the floor date from the early Christian period and come from the city's ancient basilica (5th to 6th century).Ph: ©Franco Furoncoli Fotografo

The Baptistry

This octagonal Roman-Gothic construction in Verona marble, with graceful architrave loggias all round it, is one of the extraordinary testimonials to the moment of transition from Romanesque to Gothic art in Italy.
Benedetto Antelami designed and created almost all the sculpted elements, including the zoophorus that runs parallel to the base, the legendary scenes of the portals, the individual figure placed in outside niches, and the statues of the Months inside. Of special note are the statues of Solomon and the Queen of Sheba.
The lower "band" of the Baptistery has a bas-relief zoophorus running completely round it, with figures of real and imaginary animals, diabolical and sea monsters, centaurs, mermaids, unicorns and signs of the zodiac. The band of 79 marble slabs is broken by three large arches inside which three portals open: portal of the Virgin, portal of Judgement and portal of Life, in which the tales of the origins of Christianity can be seen.
The interior is a vast room of sleek, elegant lines, with double the number of sides of the octagonal external perimeter. In the centre is the double basin for baptism by immersion, surrounded by famous Antelami sculptures of extraordinary quality, variety and richness. The high-relief sculptures of the months, seasons and signs of the zodiac are especially famous. Ph: © Amoretti Fotografo

San Giovanni Evangelista

The church of St. John the Evangelist was built in the 10th century but reconstructed between 1498 and 1510 by order of the Benedictines. The rich Baroque façade in white marble, built between 1604 and 1607, contrasts with the complex's Renaissance architecture, enhanced by the harmonious ensemble of the cloisters of the adjoining monastery and the tall graceful bell tower. The harmonious interior in the form of a Latin cross, with a nave and two aisles defined by classic fluted greystone pillars, is famous for its pictorial decoration. A frieze depicting Jewish and pagan sacrifice, painted by Correggio in 1522-1523 with the help of Francesco Maria Rondani, runs along the nave.Ph: © Franco Furoncoli Fotografo

The remarkable dome portraying The Vision of St. John at Patmos, or the Transit of the Evangelist according to various Church Fathers, was painted by Correggio (1520-24), to complete the unified decorative plan of the entire church.
Of particular interest are Gerolamo Bedoli's large altar-piece behind the high altar with the Transfiguration and the wooden choir inlaid and carved by Marcantonio Zucchi (15212-31), the vestry painted by Cesare Cesariano, the library (in which several examples of illuminated manuscripts from 1400-1500 are kept), as well as the famous cloisters.
Ph: © Amoretti Fotografo

Old Pharmacy of San Giovanni

This historic pharmacy stands within the walls of the monastery of San Giovanni and records of it exist from 1201 but its origins probably date back even earlier. Built and run by the Benedictines, it remained in operation until 1766. After being bought by the state it was restored and opened to the public in 1959.
Three rooms can be visited that are fully furnished with shelving dating back to the 16th and 17th centuries and on which a rich array of aoothecary jars are displayed. These jars, attributable to various methods and periods of workmanship and differing in shape and size, include majolica jars, flasks, pots and mortars for the preparation of medicines.
The Sala del Fuoco has a serving counter with precision scales. In the Sala dei Mortai the masters of ancient medicine look down from their lunettes, and the Sala delle Sirene is dedicated to the Parmesan masters of medicine and pharmacy.strong>Ph: © Franco Furoncoli Fotografo

Go to the site

Madonna della Steccata

This central-plan church, the work of Bernardino and Giovan Francesco Zaccagni who between 1521 and 1525 treturned here to the architectural precepts developed by Bramante, is strongly linked to the Parma war of 1521 and was offered in thanks to the Virgin for victory against the enemy. Towards the end of 1600 modifications and embellishments were added to the exterior, as well as the large balustrade that runs around the arms of the cross. The interior, the work of the greatest masters of the Parmesan Renaissance, has a number of important paintings as seen on the high altar: Parmigianino's Wise Virgins and Foolish Virgins, Anselmi's Coronation of the Virgin (1540) and Bedoli's north and south basins (Pentecost and Adoration of the Shepherds). The dome, dating from 1560, has a fresco by Bernardino Gatti (Assumption of the Virgin). Ph: © Carra Fotografo

Camera di San Paolo

This was originally part of the apartments of the Abbess of the Benedictine convent of San Paolo, which was restructured and decorated, starting in 1514, according to the wishes of Abbess Giovanna of Piacenza.
The extraordinary pictorial decoration inside it, the work of Correggio carried out in 1519, is considered one of the greatest masterpieces of the late Italian Renaissance.
The room is covered by an umbrella vault divided into sixteen segments with late Gothic stringcourses. In the centre of the dome are the family arms of Abbess Giovanna, while inside the segments are sixteen ovals from which vivacious and delicate figures of jubilant cherubs appear, open to the sky. The base of the vault has false marble lunettes, painted as bas-reliefs, depicting Olympian deities. Depicted on the hood of the large stone fireplace is Diana on a chariot as she is about to go hunting.
The meaning behind this image is certainly broader than that of a simple hunting allegory centred on the myth of the hunting goddess. In fact, the most widespread interpretation holds that the pictorial cycle tells of the intensive struggle the Abbess waged against the civil and religious authorities who were determined to reduce the political power of religious orders.

Go to the site