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 façade 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, ponentine restlessness of Altobello Melone and Gianfrancesco Bembo, the Brescian Romanino and the Friulian Pordenone, who is given the grand finale with the resounding, flamboyant Crucifixion on the counter façade. Alongside these two poles, the façade and the nave, there are masterpieces from all centuries: paintings, sculptures, and goldsmithing. Late Gothic cycles in the vaults of the naves, which recall the taste for illumination and Tacuina sanitates; the great 15th-century silver cross; some of the most important and expressive sculptures of the Renaissance in Lombardy; frescoes and canvases by the Campi, the greatest exponents of the 16th-century Cremonese school of painting, between Mannerism and Nature; paintings and sculptures from the 17th to the 19th century, from Procaccini to Genovesino, from Bertesi to Borroni, and Giuseppe Diotti.