Milan's Church
The Cathedral: this is the greatest monument of the City. On the façade it has 5 portals and is the only large building in the world entirely built in marble. The central portal, designed by F.M. Ricchino and G.B. Crespi, is very interesting with its modern bronze door by Pogliaghi. The other doors, all modern, were decorated by A. Minerbi, Castiglioni, Lombardi and others. The polygonal Apse, with its three windows decorated with ribbings, was accomplished according to the project of Filippino degli Organi. The great spire dates back to the 18th Century. All the parts, including the sides and the apse are decorated with various kinds of statues, dating back to between 14th and 19th Century. The inside is magnificent and austere, with a nave and four aisles, divided by 52 pillars. The floor was made according to Pellegrini’s designs, to whom belongs also the marble back-choir which forms a large enclosure with rectangular windows and beautiful decorations. In the first righthand aisle there is: a copper Crucifix on the tomb of Archbishop Ariberto da Intimiano, a work by Longobard artists of the 11th Century; the tomb of Marco Carelli, by Filippo degli Organi. In the transept there is the Monument to Gian Giacomo Medici, by L. Leoni; the altar, donated by Paul IV was made in the 16th Century, with three Rhenish statues of XIV Century; the stained-glass with the scenes of the life of St. Catherine of Alexandria was made in 1556 and the stained-glass, designed by Nicolò da Varallo, illustrates scenes of the life of St. John Damasceno. In the nave of the left transept, there is the chapel of Our Lady of the Tree and the bronze Trivulzio candelabrum of Gothic-French style dating back to the end of the 13th Century. The presbytery area was raised by Pellegrini to form the crypt. The presbytery in classical style has outstanding decorations such as the high altar, which is sur mounted by a templet, according to Pellegrini’s design, made of gold plated and silver plated bronze surmounted by a statue of Triumphant Christ. The choir was designed by Pellegrini and made of carved walnut, by a group of wood artists, between 1572 and 1620.
From the crypt, by Pellegrini, it is possible to go down into an octagonal room known as the “Scurolo of St. Charles”, according to Ricchino’s project. From the back-choir it is possible to reach the two sacristies: the most interesting one is the southern one, which has a magnificent portal accomplished by Fernach. The portal of the northern sacristy belongs to the same period and is a work by Giacomo da Campione.
In the extreme left aisle, the altars of the sixth, seventh and eighth chapels are very interesting and they were all designed by Pellegrini. In the Treasury, full of important pieces, there is an outstanding evangelistary cover with embossed works and gems.
The church of Santa Maria delle Grazie (1497) was designed by Donato Bramante, one of Italy's prominent Renaissance architects. Renaissance architecture was a major turning point in Italian architecture because the classical theory principles were applied to the contemporary building forms. This brought a sense of measured proportion to both the dimensions of architectural members and the space they enclosed. This system of harmonious proportions is the basis of most Renaissance architecture. Another Renaissance artifact connected with Santa Maria delle Grazie is Leonardo da Vinci's painting of the Last Supper (1495) The Last Supper portrays the apostles' reactions to Christ's announcement that one of them would betray him. The Last Supper is an example of the inquiring spirit of renaissance art.
The Carthusian Monastery of Garegnano: this is a monastic Church dating back to 1562-1603, built on a previous construction. On the inside, designed by Annoni, there are some important works such as the frescoes of the XVII Century by D. Crespi and polygonal medallions in the sections of the vault.
St. Alexander’s Church: it was built according to Binago’s drawing who availed himself of many assistants, among whom Ricchino.
St. Ambrose: it dates back to 379. The first construction underwent many rehandlings and renewals during IX and X Century; later, in 1492, in 1857 and finally after 1943. The lobby preceding the church belongs to XII Century. The left hand portal of the façade is adorned with a pre-Romanesque statue of this saint. On the external side of the left aisle the Portico of the Parsonage runs, planned by Bramante, but not finished and recently restored. On the inside, among the great number of the masterpieces, particular interest shoud be devoted to the pulpit of the nave which stands on arcades sustained by little columns. Under the pulpit there is the “Sarcofago di Stilicone” (Sarcophagus of Stilicone) belonging to IV Century. The Sacellum of St. Vittore under a Golden Vault, standing on the area of an ancient churchyard, is adorned with mosaics, dedicated to this Saint and to St. Materno. From the parsonage you can enter St. Ambrose Museum, which preserves the Treasury, frescoes by Luini, which are set in several halls, and the capitular archives.
St. Babila’s Church: it dates back to X Century and it was built on a previous Basilica of the V Century. It has been restored throughout the Centuries and nowadays only the lantern remains from the original construction.
St. Eustorgio’s Church: it is a Sixth-Century Church and in the transept there is what is thought to be the Tomb of the Three Wise Men. A fresco, dedicated to the Epiphany, is attributed to Luini and Bramante.
TheChurch of St. George at the Palace: this name derives from the finding, in that area, of ruins of a Roman building belonging to the Imperial Age. The present building was planned in 1774 by B. Ferrario. On the inside, there are many paintings by Luini.
The Church of St. Gottardo in Court: The inside is completely modified. You can see a “Crucifixion” which points out Giotto and Aronne Visconti’s funeral monument, the person who wanted the building of the Church. The Sixteenth-Century belltower is really gorgeous, a work by Pecorari.
St. Lawrence’s Church: it was built as an Arian Basilica and has Byzantine characteristics and surely it is one of the most beautiful Churches of the late Romanism all over the Western World. On the inside we find mosaics belonging to IV and the beginning of V Century; in the women’s gallery there are frescoes of IV Century.Noteworthy are St. Aquilino’s Chapel, St. Ippolito’s Chapel and St. Sisto’s Chapel. Opposite the Basilica, 16 marble columns excellently testify the Roman Age in the city; of a Corinthian style, these columns were derived from a building which were not identified and were brought in front of the Church at the end of IV Century.
St. Mark’s Church: it was widened in XIV Century and entirely modified starting from 1690. The façade is a work by Maciachini and it has a Lombard-Gothic design. On the inside, there are very important artistic works.
The Church of St. Nazaro Maggiore: this Basilica is preceded by the Trivulzios’ Funeral Chapel, by Bramantino starting from 1512, and it is one of the most ancient ones in Milan. It was remade after a fire around 1075, modified and later restored. On the inside, note St. Lino’s Chapel.
