The Cathedral of Santa Maria Assunta is the main and the oldest Catholic worship site in the town of Crema, the bishopric of the diocese of the same name. According to tradition in the place where Crema emerged, from early Christian times there was a small church dedicated to Santa Maria della Mosa: The five-lane entrance architrave is supported by two telamons and holds a lunette that houses the sculptural group of the Madonna col Child Jesus among the saints John the Baptist and the Pantaleon. The clippings interpretation is uncertain: the central one would represent the Paschal Lamb of the Apocalypse in the center, while the lateral ones could be deciphered as the clergy, the monk, the bishop, and the laity. If the numerous decorative elements of the facade were the starting point for knowing and suggestive spiritual allegories (a sort of ascent of the sinful soul to salvation), their numerical symbolism is instead in the classical medieval canons. Thus the three spheres indicate perfection and the Trinity, the 33 pillars of the loggate refer to the years lived by Jesus, the 16th rosary correspond to the 12 apostles plus the four evangelists. The façade has other symbolisms: a square stone under the left bifore indicates the undifferentiated raw material, a departure for human and Christian salvation; the pentacles, which represent the stylized image of the man with open arms and legs spread apart, a symbol of the perfect man who is the Christ; the branches of vines and the pampins that surround the windshields symbolize the Eucharist and the Christ; a form on the left side contraction contains seven circles, the seven planets known at the time of construction; On the right buttress, however, a chessboard riddle recalls the ambiguity of life and reality and is dominated by a palm, a sign of victory. On the half-columns are also two tombstones that testify to the point where the building was built in 1301 and 1305. The bell tower dates back to the period between the 13th and 14th centuries and although it is an integral part of the church, engaging in the chapel of Saint Pantaleone, as an architectural element. If it came to the ground, it would have a square shape base of about 6.5 meters per side and is divided into six orders, with markers and sloping corners. At the base there are two pylons of different sizes than the sides of the side, and with different height. Crema's cathedral has a three-nave plant: the central one ends with a flat apse in the Cistercian style, while the lateral ones are completed by chapels. From the square you descend a step to the level of the old pavement in pesto coco. To the powerful columns that divide the aisles, they drift towards the center of the cylindrical half-cylinders, which continue to the six-acute crossbow. The times of each single nave of the central nave are cruise. The columns that support the triumphal arch (all sixth) have different capitals. The right one also has a lower triumphal arch attack: probably in the first Barbarossa siege rebuilding project, a lower nave than the present one was thought to be. The central nave's window layout is for each span: at a lower level two monoforexes (fake matroneos that actually look out onto the aisles of the side aisles); at the upper level a twin light that gives light inside Although the baroque remake has destroyed the dense decoration of the fourteenth and five hundred.