To design the Sanctuary of Santa Maria della Croce, it was called the Lodi architect Giovanni Battagio, a pupil of Bramante, and finished at the end of 1500 by Giovanni Montanaro. The main body is divided vertically into four orders: the first band is made up of trapeiled pilasters. The second band is a gallery with single lancet windows. The third band is very elaborate, composed of triple arched arches that make up large mullioned windows with ornate parapets. in 1500 the Battagio abandoned the construction site that was entrusted to Giovanni Montanaro who modified the design of the fourth strip with a small loggia with thick columns and trilobed arches. The lateral bodies have the shape of an octagon obtained by ideally beveling the angles of a square, along the more external straight sides open the main portal and the smaller portals, surmounted by a triangular tympanum. Thanks to the legacy of the priest Filippo Samanni, the old roofs were replaced with copper domes. The project of the architects Emilio Gussalli and Luca Beltrami. The bell tower is not leaning against the church and is about the same height as the main body of the basilica, including the lantern. It has a base of about 4 meters on the side with rusticated bands. A jutting cornice divides the base from a second band characterized by blind windows. The next level, much higher, is characterized by angular pilasters with central openings topped by oval motifs. A trabeation divides the third from the fourth band on which, in the north and south sides, the clock is placed. The belfry has single-light windows with a round arch supporting an octagonal body. The eastern body is on two levels: in the upper one there is the main altar coming from the Cathedral of Crema: it is in a high position reached by two steps of thirteen steps in red Verona marble. Above the wall is the large canvas of the Assumption by Benedetto Rusconi, known as Diana, by Giacomo de Marchi and gilded by Nicolò Salserio Bianchi, Tommaso and Vincenzo Civerchio. The walls and vaults were decorated in stucco by Giovan Battista Castello in 1585. The side walls have window niches with female figures. The altarpieces made between 1575 and 1580 are worthy of note: the Nativity by Antonio Campi, the Adoration of the Magi by Bernardino Campi, the piety, also by Bernardino Campi, the one going to Calvary by Carlo Urbino. Always Carlo Urbino frescoed the walls and the vault of the chapel with the blade he made, while the other three chapels were made by Aurelio Gatti. Internally, the smaller bodies are square, with angular pillars forming a Greek cross. They have decorations mainly made in the eighteenth century at the time of the Carmelite presence. The northern body decorated by Giacomo Parravicini known as Gianolo in 1721 with the stories of Moses while the dome shows the flight into Egypt by Eugenio Giuseppe Conti in 1898. The southern body, built in 1762 by the brothers Giuseppe and Giovanni Antonio Torricelli: they represent the stories of King David. The dome was frescoed in 1870 by Angelo Bacchetta and depicts the assumption of Mary. The western body contains the compass of the main entrance of the basilica. On the north wall is the marble baptistery of Verona above which is placed the canvas of the baptism of Jesus by Tommaso Pombioli. Above the entrance is the organ, a work of half 800. In 1694 the sanctuary was entrusted to the order of the Discalced Carmelites who a few years after 1706 began the construction of the imposing convent. In 1710 the bell tower was added. With papal bull April 18, 1958 Pope Pius XII granted to the sanctuary the title and dignity of minor basilica. On 20 June 1992 the basilica received the illustrious visit of Pope John Paul II who stopped to pray before continuing the visit to the city.