Meeting with the driver and the guide in hotel.
An exiting voyage back the time amidst the towering Gothic spires of the Cathedral, the charming medieval buildings on Via Broletto, and the treasures from every age in the ancient Sant'Eustorgio Church. Basilica of Sant'Eustorgio The unassuming façade of very important church is visible on this plesant little square. Sant'Eustorgio was commissioned in 515 by Bishop Eustorgio II who had it built over the site of even older 4th century building put up during the time of Bishop Eustorgio I. At the end of the 11th century the church was rebuilt until Frederik Barbarossa caused its almost complete distruction in 1164; he even took the Roman sarcophagus supposed to contain the relics of three Magi to Cologne. In 1190 recostruction, which would last several centuries, was undertaken: the family chapels on the right side of the church clearly exibit the varius building stages. The 15th century brought the southside chapels and a gem of Renaissance architecture, the Portinari Chapel. The belltower whith its typical Lombard decoration of arches and cone-shaped cups was built between 1297-1309. The single aisle church whith 225 foot long nave conveys a sense of vastness, increased by the optical illusion deriving from a slight inclination of the massive piers going down the nave. The church contains so many art treasures it might well be called a museum. The Brivio Chapel, recently restored to its Renaissance splendor, whith the tombs of Giacomo Stefano Brivio by the brother Francesco and Tommaso Cazzaniga and Briosco and the Torelli Chapel whith the Gothic arc on twisted columns used as Pietro Torelli's sepulchre, are two noteworthy examples. The Visconti Chapel contains the tomb of Stefano Visconti, a gothic masterpiece by Giovanni di Balduccio. The frescoes decorating the chapel bear Tuscan influence, namely thath of Giotto. The marble altar frontal whith scenes of Passion of Christ, left unfinished, is a masterpiece, though it was warked on throughout many periods by many great but anonymous sculturs amog which we may pick out International style, (perhaps even Giovannino de' Grassi) Campionese, and Fiorentine master. Finally we come to the pure Rinassence Portinari Chapel commissioned by the Florentine Pigello Portinari in 1462 and finished in 1468, the year of his death. The chapel is a blend of the finest Tuscan architecture whith the painting of Vincenzo Foppa, a new star in the late 15th century lombard firmament. The frescoes high up on the walls, were discovered in 1878 and restored at the beginning 20th century. They are truly Foppa's great masterpiece. At first the architect was actually belived to be the Fiorentine Michelozzo, but today it is felt that the church was designed by a Lombard master under Tuscan influence. The outside is square shape whith four corner structures and surmonted by a dome enhanced by tondos. The interior, also square, is decorated whith Foppa's stucco angels. In the center of the chapel, stands the famous tomb of St. Peter Martyr, built by Giovanni di Balduccio, a follower of the great Pisan Innovator, Giovanni Pisano, between 1336 to 1339. Giovanni di Balduccio's work is a milestone in Lombard sculpture's march towards the Renaissance, a harmoniuous blending of the classical Renaissance and sinous vibrant Gothic line. The tomb, which in 1734 was moved from the left nave of the Basilica to the Portinari Chapel, consists of the an elaborate white marble urn supported by eight statues of Virtues resting on them. The bas-relief decorations on the urn descript scenes from life of St. Peter Martyr. A tricuspidate niche above the lid of the sarcophagus contains statues of the Virgin and child between Sts. Dominic and Peter Martyr, statues of Christ givin His Blessing and two angels stand above the niche. Porta Ticinese Porta Ticinese is definitely one of the most unusual remains of the circle of walls put up in 1171 following Barbarossa's destruction of the city and then rebuilt by Azzone Visconti after 1329, although its present appearance is due to a 19th century restoration project. The gate is formed by a great central arch whith towers on either side, which in 1861 were opened by two pointed arches. Like every other Milanese gate, Porta ticinese has been eyewitness to history: after having been assigned to Pavia by Barbarossa in 1162, the gate was scene of the murky events and sly plotting of the Visconti Family - Gian Galeazzo Visconti, for exemple, selected it as the spot to ambush his uncle Barnabò on May 16, 1385. Duomo (The Cathedral) Few churches in ltaly underwent such a slow, complex building process as Milan's cathedral. In addition, putting up such a gigantic monument involved not only Lombardy but actually all of Italy. It was, in fact, through the cathedral that the High Gothic style from beyond the Alps made its way down to Milan and henceforth influenced the whole country. Progress was painstakingly slow: work actually went on throughout five centuries, although the original Gothic style was never abandoned. The cathedral, dedicated to Mary, was actually begun in 1387 over the site of the 9th century basilica of St. Maria Maggiore. Built on the express wish of Archbishop Antonio da Saluzzo, the initiative found favor with Gian Galeazzo Visconti (then ruler of the city) and the whole MiIanese population. For that year the chief engineer was Simone da Orsegnigo who was aided by several Campionese (Swiss) masons. Nevertheless, the overall design of the cathedral was undoubtedly conceived by a sole mastermind, an artist definitely from beyond the Alps since, despite the fact that numerous architects had a hand in it, the cathedral never lost its amazing cohesiveness - a characteristic so typical of the work of Northern masters. It must be said, however, that the Gothic schemes in the hands of the Italian architects lost much of their Northern flavor and acquired a more typically Italian feeling. Simone da Orsenigo was, surrounded by a crew of great stonemasons: Marco "de Frixeno" of Campione, Matteo da Campione, and greatest of all, Giovannino de' Grassi. In 1389 da Orsenigo was dismissed and Nicola di Bonaventura was summoned from Paris. Nicola designed the huge pierced windows of the apse after his arrival in Milan on May 7, 1389 but he too was dismissed (on July 31 , 1390). Italian and foreign master craftsmen followed one another; amog them we may cite the Germans Johann from Freiburg, Heinrich Parler from Gmunden, Ulrich from Fussingen, Hans von Fernach, and the Italians Bernardo da Venezia, Gabriele Stornaloco, Marco da Carona, Giovannino de' Grassi and Giacomo da Campione. The latter two worked permanently in the cathedral workshop from 1392 on and left their imprint in the use of the so-called "Fowery Gothic" style known for its flamboyant decorative patterns. After the death of the great masterster de' Grassi, the Parisan Jean Mignot, sharply critical of what had been previously done, was put in charge, but opposed by Bernardo da Venezia and Bertolino da Novara, he was soon fired, and from then on the building of the Cathedral of Milan was supervised exclusively by Italian masters. In 1400 Filippino degli Ugoni became supervisor of the project; the capitals, vaulting, and terraces are of his design. Work went on at such a fast pace that by 14I8 the main altar could be cousecrated by Pope Martin V. When Francesco Sforza came to power in the mid 15th century, art in Milan was absorbing French and Tuscan influences. 15th century Milanese architecture and thus also that of the cathedral was strotigly influenced by three generations of the Solari family: Giovanni Solari, his son Guinforte, and Guinforte's son Pier Antonio. Guinforte's son-in-law', the great Giovanni Antonio Amadeo, won the competition called in 1490 for the building of the drum. Despite the new Renaissance turn art had taken, Amadeo was a strenuous defender of the structure's Gothic unity. He completed the drum by 1500. Ten years later the first of the four adjacent spires was put up it too in the Gothic style. Meanwhile the great surge of "Flowery Gothic" was gradually losing momentum, beaten by the new more plastic treatment of form advocated by Filarete, Luca Francelli, Francesco di Giorgi, and Leonardo, summoned from all over Italy to give fresh advice and up-to-date opinions on how the cathedral should be built. After a brief German intervention, a master called by Gian Galeazzo Sforza from Strasburg in 1482, Pellegrino Pellegrini, also known as Tibaldi, the favorite architect of Archbishop Carlo Borromeo, was named mastermason. Pellegrini immediately threw himself into the job and designed the patterns for the flooring and choir stalls. In 1572 Borromeo reconsecrated the cathedral. In 1585, when Pellegrini left for Spain, he got Martino Bassi and then later Lelio Buzzi, who had earlier designed the Ambrosian Library, to take over. When the other great Borromeo, Federico, was Archbishop, Fabio Mangoni was put in charge of the cathedral building, followed by Richini and the Quadrio, but the 18th century was ushered in and it was still incomplete. The great spire was erected between 1765 and 1769 and the façade, based on Pellegrini's idea, was put up between 1815 and 1813. Work went on right through the 19th century, during which time the spires and the towers with stairways inside were completed. The whole complex construction, however, was badly in need of restoration: the first campaign was undertaken in 1935 and the second - even more complicated and painful - after the bombardments of 1943. During the latter restoration project, the flooring was restored and the statues and decorative elements which had suffered the greatest war damage were replaced. Finally, on December 8, 1966, the new churchyard was dedicated. Palazzo Ducale of Visconti (Royal Palace) The building stands in the rectangular square on the southern side of the cathedral; its front is neo-classical and it has two side wings. Its origins are very old and during its history it has witnessed many changes. In the 12th century, the Broletto Vecchio, which was where the Consuls, who governed the Free Commune, had their headquarters, was built in this site. In 1310, the Visconti established themselves there, and in 1330 Azzone transformed the palace into a sumptuous residence, making it the Ducal Court of the Visconti. In 1385 the Visconti went to live in the Castle when the front of the palace was demolished to make room for the cathedral. In the 16th and 17th centuries the building was radically restructured and became the seat of the Spanish governors; in addition, it was the site of the first opera house of Milan. In 1771-1778, when Milan was under Austrian domination, the archduke Ferdinand ordered the architect Giuseppe Piermarini to modify the palace once more, rebuilding the façade and rearranging the great rooms, according to the needs of the times. Finally, with the Unification of Italy, it became the Royal Palace. Its superb interior with all the statues, frescoes, floors and plasterworks was completely devastated by the 1943 bombardments. Since 1965 the palace belongs to the city of Milan, and is now home to the Museum of Contemporary Art, while the left wing has long housed the Cathedral Museum. Piazza Mercanti and Broletto Nuovo Miracously a corner of old Milan is still preserved intact here-it is hard to beleve that the traffic and skyscrapers are just a step away! Originally square shaped, it had six gates, one for each of the neighborhoods of the 13th century city. In the centre stood the Palazzo della Ragione, or New Town Hall (Broletto Nuovo), commissioned from 1228 to 1233 by Oldrado da Tresseno, the first Milanese mayor, portrayed on orseback in a high relief above the palace's fourth pillar; stylistically this work (1233) bears the influence of the famous 12th century sculptor from Modena, Antelami. Below is a five verse Latin inscription exalting the mayor's major merits, i.e. one, commissioning this palace and two, burning heretics at the stake. The extremely plain building has three rows of arcades supported by square pillars and a brickwork upper floor with triple windows. The charming Loggia degli Osii commisioned by Matteo Visconti da Scoto of San Gimignano in 1316, sharply contrasts with the starkness of the palace. The square is completed by the Baroque Palatine School Building and the Gothic House of Panigarola Family, next to the each other in a fine contrast of styles. And finally right before the La Loggia degli Osii is the crowning touch - a charming 16th century well with columns and trabeation added in the 18th century. Loggia degli Osii Opposite the austere Palazzo della Ragione, or New Town Hall (Broletto Nuovo), on the south side of medieval Piazza dei Mercanti(a corner of old Milan miracously preserved intact!), is the charming Loggia degli Osii commisioned by Matteo Visconti da Scoto of San Gimignano in 1316. Although it was unfortunately disfigured in the 17th and 18th centuries, we can still get an idea of what it must have been like by the 1904 restoration which attempt to bring it back to its original form. Built of black and white marble, it is composed of two superimposed loggias with divided windows along the top floor. Upon the upper loggia are coats of arms of the varius districts and of the Visconti family and in the middle is the balcony from which edicts were read to the public.
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