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 pleasant 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 destruction in 1164; he even took the Roman sarcophagus supposed to contain the relics of three Magi to Cologne. In 1190 reconstruction, which would last several centuries, was undertaken: the family chapels on the right side of the church clearly exhibit the various building stages. The 15th century brought the south-side chapels and a gem of Renaissance architecture, the Portinari Chapel. The bell tower with its typical Lombard decoration of arches and cone-shaped cups was built between 1297-1309.
The single aisle church with 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.
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 with 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 example, selected it as the spot to ambush his uncle Barnabò on May 16, 1385.
Duomo (The Cathedral).
Few churches in Italy 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 flavour and acquired a more typically Italian feeling.
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. Finally, with the Unification of Italy, it became the Royal Palace. Its superb interior with all the statues, frescoes, floors and plastic-works 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.
Miraculously a corner of old Milan is still preserved intact here-it is hard to believe that the traffic and skyscrapers are just a step away! Originally square shaped, it had six gates, one for each of the neighbourhoods 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 horseback 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 commissioned 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 miraculously preserved intact!), is the charming Loggia degli Osii commissioned 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 various districts and of the Visconti family and in the middle is the balcony from which edicts were read to the public.
Return to hotel.
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