Palazzo Marino. Villa Belgiojoso. Milan, like every great city, boasts much noteworthy architecture. There were and still are many important families that have given prestige to the city and numerous patrons who have contributed to the present town planning. When you walk along the streets of the city centre, you can't help noticing the medley of styles that has inevitably been created with the passing of time. In the outskirts, however, the architecture is prevalently in the Modern and the so-called Post-Modern styles.
It might be interesting to reverse the usual route of a visit and begin from the less well-known areas, with their modern buildings and structures. The XX century has certainly most contributed to the erection of industrial and commercial buildings. The most striking example is the Rho-Pero Trade Fair complex, built on a design by Massimiliano Fuksas, with its characteristic 'sail' covering in glass and steel frame. Salon d'Appiani. Salon Segantini. Duomo, façade. Duomo, autel. Very few churches in Italy took such a long time to build as Milan's towering Gothic Cathedral.To complete the magnificent "Duomo" took more than five centuries and necessitated resolving many vicissitudes. Numerous outstanding personalities were summoned to the building yard from all over Italy to give their opinions and offer advice.
The foundation stone was laid long ago in 1386 under the patronage of Bishop Antonio da Saluzzo. In 1390 a great Jubilee was proclaimed to give impetus to the building of the Duomo urging the Milanese to offer money or manual labour. Originally it was planned to use fired bricks but in 1387 Duke Gian Galeazzo Visconti insisted on marble and the then more up-to-date International Gothic style. His intention was to create a majestic power symbol.. The five centuries it eventually took to complete the construction determined the very evident mixture of styles that are a characteristic of Milan's Cathedral.
Duomo, abside. Duomo, crypte. Duomo, vitraux. Duomo, flèche. Santa Maria delle Grazie - Nef. On the inside it is immediately possible to distinguish the two parts. The Gothic legacy is visible in the nave, side aisles and chapels and is decorated by master painters: frescoes by Butinone, del Montorfano and Gaudenzio Ferrari, paintings by Marco d'Oggiono and Paris Bordon. The extensive luminous space around the presbytery inspired by Bramante under the dome is manifestly monumental Classical style enhanced by the marvellous polychrome ornamentation and graffito. Above the choir in inlaid wood dating from the end of the 15th century is a splendid umbrella vault.
The raised altar area leads to the parts of the convent, renovated by Bramante, that can be visited: the delicate small cloister from which there is a striking view over the presbytery and "Sagrestia Vecchia"(old sacristy) a rectangular ambience lined with inlaid, painted cupboards dating from the Renaissance under a vault frescoed with a design of Leonardesque knots. La Cène - De Vinci. Santa Maria delle Grazie church The Church of Santa Maria delle Grazie is one of the most striking monuments of Lombard Renaissance.
The Church was built between 1466 and 1490 under the direction of Guiniforte Solari, only subsequently in 1492 the apsidal part was added by Bramante. In the refectory of the church of Santa Maria delle Grazie, ancient premises of the Court of the Inquisition, one of the absolute masterpieces of history is kept: Leonardo da Vinci's Last Supper. The fame of the building is also due to the tribune of the apsidal part on today's Via Caradosso, added in 1492. The inside of the church with a double series of side chapels highlights the Solari's Gothic background just as the arcades on the two rows of columns. Leonardo's Last Supper. Crucifixion - Montorfano. Sainte Marie de la Passion, transept. Sainte Marie de la Passion Nef. Salle capitulaire. La Scala loge royale. La Scala loges latérales.
Foyer du public.