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While one was begun on the twenty-fifth of March in the year fourteen twenty, on the Feast of the Annunciation, the other dates from the fifteenth of August of fifteen seventy, the Feast of the Assumption, also sacred to the Blessed Virgin. And it was quite logical that the mother should be born before the daughter. It was thus that Alemanio Fini, writing in the Sixteenth Century, described the relationship between Venice and Crema, considered indissoluble and, as the comparison with the Madonna indicates, sacred. The Serenissima had conquered Crema and its lands in 1449 and was to rule it until 1797, when the Venetian Republic itself was abolished. After the conquest, Crema immediately benefited from its new capital’s renewal of its administration and stimulation of its artistic development, with the construction of major works still visible today. Except for the short, tragic period of French dominion (1509-1512), further blackened by the plague, defeated – according to tradition – by San Zefirino, the late Fifteenth and first half of the Sixteenth Centuries passed in a climate of artistic renewal. Apart from the architectural projects, the paintings of Vincenzo Civerchio da Crema also reflect this. It was from this city that one unspecified day the lutenist Giovan Maria, whose native town is known but whose surname has not come down to us, set out for Venice.