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Only a small part of the columns remain of the basilica. These originated in the Roman era and comprised the colonnade between the main and the two side aisles: monolithic columns of dark
Egyptian marble, described by Zamboni as coloured like iron. They are about 5 metres tall, smooth and unfinished.
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with its campanile (which collapsed in the 18th century), and the basilica itself in an emerging central body with two lower side aisles covered by sloping roofs. A roseate window appears in the upper middle, while below, the entrance portal opens. The building does not quite abut the street (today's
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The basilica was a small building, surrounded by others to the north (on today's Via
Querini) and to the east (on Via Mazzini). The interior had a lower floor than that of the square, in common with churches of antiquity, and had three naves, divided by two colonnades with fourteen columns each. The
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The origins of the basilica are virtually unknown, being nearly absent from early chronicles. However, some surviving writings give a brief description. Baldassare
Zamboni's chronicle published in 1778 but written at the end of the 16th century affirms that the basilica was built in the 7th century
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and that, over the centuries, suffered various mishaps, including fires and careless restorations. In the year 800, for example, the consistency of its walls was undermined by fire; in 1096, another devastating fire affected the area of the square as well as the nearby quarter of Porta
Bruciata (
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The second testimony is
Giovanni Antonio Avanzo's plan from 1601 to provide precise areas and measurements for the new cathedral's construction. The drawing shows the plan of the basilica, confirming the three naves. The measurements are in Brescian fathoms (about half a metre).
214:. The building did not survive very long thereafter: it was structurally unstable and deteriorating, and within about twenty years, it was demolished to allow the construction of a larger church, the New Cathedral, which was more in line with the aesthetic of the period.
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Based on the use of Roman elements in its construction as well as the basilical form, Panazza avers that the church originates between the sixth and eighth centuries, when the builders used ancient materials found on the spot.
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Between 1571 and 1581, the edifice underwent extensive renovation: the floor was raised to the level of the square, windows were installed and a new roof with a false ceiling created. The works were conducted by an architect,
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The basilica was also known for its music, with an organ and complete orchestra in place. The monks attached to the basilica were closely tied to the
Brescian viol-makers, and are known to have patronised
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Other sources show images of the church, often from a bird's eye view, but do not give additional detail beyond those from the aforementioned documents. An example is the
Francesco Maffei painting
269:(currently in the Old Cathedral), where one can see the basilica's facade with the roseate window, as well as the south side with its series of arches typical of the period. A
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built in the early
Christian era on the east side of the Piazza del Duomo. After numerous mishaps, it was demolished at the beginning of the seventeenth century to build the
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Recovered from the demolition of the basilica, they have been reused in other monuments: two in the entrance to the
Broletto, two for the entrance to the
518:
Begni Redona, Pier
Virgilio (2004). "Quattrocento anni di storia dell'arte a Brescia - Pittura e scultura nel Duomo nuovo". In Taccolini, Marco (ed.).
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To date there are only two historically reliable and sufficiently clear depictions of the basilica. The first is the miniature on the cover of the
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Grande illustrazione del Lombardo-Veneto: ossia storia delle città, dei borghi, comuni, castelli, ecc. : fino ai tempi moderni
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of 1501, first situated in the chapel of the Blessed Sacrament and later moved to the high altar of the basilica. The other is
206:(likely granite). The capitals and architraves were bare, possibly reused from the area of the ancient Roman Forum of Brescia.
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182:, where the bishop resided with the urban clergy, still identifiable in the Via Mazzini directly behind the cathedrals.
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Entrance to the Santa Maria della Carità showing two columns from the Basilica of San Pietro de Dom
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Transporting the reliquaries of the Brescian saints Anastasio, Dominatore, Paolo and Domenico
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574:"La casa ex-Alberghini a Gavardo esempio notevole di architettura civile del secolo XV"
313:(1502), which today is in the first altar on the right hand side of the New Cathedral.
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190:) which then took on that name. There were also two earthquakes, in 1117 and 1142.
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of 1588, which depicted the eastern side of the Piazza del Duomo, showing the
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Beato Bernardino da Feltre istituisce a Brescia le scuole del SS. Sacramento
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columns were of varying height, diameter, material and colour: some were of
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Two surviving artworks are known to have adumbrated the basilica. One is
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Memorie intorno alle fabbriche più insigni della città di Brescia
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Il Duomo nuovo di Brescia - Quattro secoli di arte, storia, fede
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in 1581, but this work was lost with the basilica's demolition.
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These illustrations are reproduced in Panazza's 1942 book.
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The Basilica of San Pietro (St Peter) de Dom was Brescia's
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Speculative facade based on miniature model of 1588
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316:The central nave of the basilica was decorated by
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254:The Broletto gate with columns from the basilica
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561:L'arte medioevale nel territoria Bresciano
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168:Basilica of Santa Maria Maggiore de Dom
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581:Scritti in onore di Gaetano Panazza
632:Roman Catholic churches in Brescia
303:Polyptych of the Blessed Sacrament
287:Church of Santa Maria della Carità
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279:Church of Santa Maria in Calchera
542:. Brescia: Edizioni del Moretto.
602:. Touring Club Italiano. 1999.
547:Haweis, Hugh Reginald (1898).
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627:7th-century churches in Italy
588:Zamboni, Baldassarre (1778).
311:Crucifix of the New Cathedral
232:Estimo della città di Brescia
144:Basilica of San Pietro de Dom
22:Basilica of San Pietro de Dom
200:somewhat veined white marble
550:Old violins and violin lore
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540:Santuari, chiese, conventi
212:Giovanni Maria Piantavigna
558:Panazza, Gaetano (1942).
202:while others were of the
178:comes from the episcopal
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579:. In Vaglia, Ugo (ed.).
538:Guerrini, Paolo (1986).
572:Simoni, Piero (1994).
527:Cantù, Cesare (1858).
332:, a famed viol-maker.
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218:Architectural sources
61:45.53861°N 10.22167°E
583:. Ateneo di Brescia.
567:. Ateneo di Brescia.
468:, pp. 131, 196.
293:Art in the Basilica
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504:, pp. 30, 32.
307:Francesco Giolfino
277:(preserved in the
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174:. The appellation
136:Diocese of Brescia
102:Architectural type
66:45.53861; 10.22167
522:. Brescia: Grafo.
478:Begni Redona 2004
466:Begni Redona 2004
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533:. Vol. 3.
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126:Administration
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454:Touring 1999
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427:Panazza 1942
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415:Panazza 1942
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403:Panazza 1942
388:Panazza 1942
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361:Zamboni 1778
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97:Architecture
86:Denomination
502:Haweis 1898
490:Simoni 1994
375:, p. .
363:, p. .
242:tower, the
188:burned gate
132:Archdiocese
113:7th century
110:Years built
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621:Categories
592:. Brescia.
442:Cantù 1858
336:References
118:Demolished
52:10°13′18″E
49:45°32′19″N
599:Lombardia
273:painting
236:Broletto
158:History
148:Brescia
77:Country
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176:de Dom
170:, the
164:summer
577:(PDF)
565:(PDF)
320:with
180:domus
80:Italy
604:ISBN
142:The
121:1603
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301:'s
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