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Milan: the last supper, the Cathedral,...
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Santa Maria delle
Grazie, the church was built up on a land belonging to the
Count Gaspare VIMERCATI, commander of the French troops of
Francesco SFORZA, next to one nail head, already dedicated to the
Madonna delle Grazie. The building rose (1466-1490) on plan of
Guiniforte SOLARI. To the work participate the BRAMANTE. The last
supper, painted in the refectory by Leonardo da VINCI, was
reproduced(' 600), because of incoming damages, by VESPINO on
request of the cardinal Federico BORROMEO. Such copy is conserved
to the Ambrosian Pinacoteca.
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The last Supper, illuminated
from an oblique light that crosses the table, pick the dramatic
moment in which Christ announces that one of its will betray it. In
the landscape appearing through the three doors of the bottom, one
stands out, to the centre, the Christ, while around him the
apostles grouped together in different attitudes, manifest their
emotion. The artist took two years to its realisation, after the
1495, on request of Ludovico the Moor. One of the causes of the
deterioration of the painting is supposed to be the intention of
Leonardo to experience new techniques. The first signals of
deterioration of the 1518, was followed by others very more serious
in the 1547. In 1726 the first attempt of restoration was had. The
ode for the dead of a masterpiece of D'Annunzio in 1901 gave the
way to the participation of 1908. Escaped to the destruction's of
the second world war, it was cleaned up in 1953. The last
restoration, seventh, was begun in 1977
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The Sforzesco Castle,
commissioned by Francesco SFORZA, using in great part the
foundations of a previous castle "Castrum Portae Jovis" was erected
between the 1358 and the 1368. Of the new fortress, having a square
plant and four towers at the angles, the plan of the tower of the
clock was entrusted to the FILARETE. From the 1499, when because of
the treason of Bernardino da Corte, the doors was opened to the
French troops of Luigi XII, was for more than thirty years theatre
of besiege and military crashes. Between the second half period of
the ' 500 and the ' 600, in Spanish hand, were one of the greater
and fortified military citadels of Europe. To leave from the 1550 a
new external defensive system to pentagonal, then hexagonal plant
was disposed and finally to twelve tips with the insertion of new
exteriors perimeters. The defence extended on a bastion of beyond
three kilometres.
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Occupied in 1796 from the French troops, BONAPARTE
commands the demolition that was interrupted to the of perimeters
walls. During 1806, in the rear zone of the castle, the ARENA and
the Arc of the PEACE were constructed. Along the empty lateral
areas they were constructed the arms of Hole Bonaparte. From here,
still barracks, general RADETZKY threaten in 1848 to bomb the city.
The castle, reconstructed, comes inaugurated in 1904. In means of
the wall oriented towards the city there is, dedicated to Umberto
I, the "Torre of the FILARETE", redesigned by the
Beltrami.
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Maria Nascente, is the name of
the Dome builted in marble, on the structure of the previous
Basilica of Saint Greater Maria. From the 1386, traditional date of
beginning, the Factory of the Dome, from centuries, continues the
jobs. Under the guide of numerous general engineers, followings one
the others in the time, the various conceptions of the
architectonic structure make a moving stone show. In 1774, on the
higher peak it comes raised the statue of the Madonnina. The image
that is perceived of the dome corresponds to the idea of the gothic
between the five hundred and the second parts of the eight
hundred.
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In a phantasmagoric decorative
apparatus, the military band of the Third Bersaglieres gathering
received far away in 1959 the 100 000 black pens to their
anniversary. Like rhythm to trumpet, the from Milan life is every
day, lived to race step; but to race step evolve also the city
traffic and the industrials activities. Installed in a region at a
high humidity rate, the atmosphere is sultry of summer, foggy of
winter. The intermediate seasons are marked from violent heavy
showers; the limpid air, washed from the rain, then offers to dawn
and sunsets of incomparable beauty.
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The mountains, majestic, seem to be to its doors:
Milan is in those moments a mountain city. But if the look to the
skilful side of the public square is turned, watching from the door
the Gallery is picked Vittorio Emanuele. The wall on which it is
opened, has the colour of dirty wall. The plague that mine the city
and its inhabitants is now the modern step of race, that it
impregnates the injurious gas air and impurities in the heavy foggy
summery days and those winter ones. The atmosphere collaborates
with changing of the organisation of the society to a continuous
evolution.
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The look turned towards the sky, is impregnated of
the image of the spire of the dome, overhung, on the higher, from
the golden statue of the Madonnina, dipped in a cloud bath white
women in their fast race in the blue of the sky. Printed from the
eyes in the heart, the thought to living She, accompanies in every
place: in the alleys of the old one city like in the new, rich or
poor quarters, in a way still more intimate in the foggy days in
which every image vanish and the beautiful one lives in the deep
gathering of the spirit.
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The dome, in its long one and elaborated
constructive evolution saw the collaboration, towards the end of
the 1300's, of the German masters, boemi, French, from Tuscany,
venetian. From the second half of the 1400's the sculptural
decoration of the dome concentrates the art of masters milanesi and
it constitutes a gigantic exposure. Contradictions between image
and structural equilibrium, visible discontinuities of quality, it
withdraws adopted and conceptual change that mark progressing of
the Factory it makes insignificant the concept of authenticity of a
gothic building, but in new gothic tight sense and it gives meaning
to the continuous and evident substitutions of materials, from the
vestment to the statues, replaced with copies until the rhythm of
four or five substitutions anniversaries, that they make of the
Cathedral, more that a monument to conserve, a yard of perennial
reconstruction.
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The Vittorio Emanuele II Gallery
is opened in correspondence of the northern porches of the public
square of the dome and communicates in axis with the side south of
public square of the scale. The executive design of the entirety is
of from Bologna architect Giuseppe MENGONI (1864).
the plant is with two ways and central octagon of crossing. The
cover makes wide employment of frames in iron to support the glass
partition. The bars restaurant CROSS OUT and SAVINI, completely
transformed, live alone in the memory like famous places of the
from Milan life, than it had its salotto.
Of the stores here that in origin flanked the arms of the gallery
is remained, the "Camparino" to the left angle of the entry coming
from the Dome. The work was finished in 1878, after the dead of its
designer, hasty from the scaffoldings.
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The Theatre La Scala,
constructed from Giuseppe Piermarini in the 1776-78 is the more
famous of Italy and between, musically speaking, the more greater
in the world. It appears to the escape of the Gallery, on the side
western North of the public square, faced from the monument to
Leonardo from Vinci.
the entire building was destroied from the strafings and
reconstructed in the 1945-46.
the facade was restored in the 1983.
In the before area re-enters on the left side of the facade, to
the center of the road, had place the episode of which was actor TOM in March 1945.
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The Brera Palace is
the seat of an important center for the Milan cultural institutes:
the Accademy of Beautiful the Arts,
thePinacoteca, the National Library , the
Astronomical Observatory , theBotanical Garden. The
Pinacoteca it is reached going up a huge one scail at double way,
on whose floors are the monuments to Cesar Beccaria and Giuseppe
Parini. The pinacoteca is one of the greater painting collections
in Italy where are esposed:
Lo sposalizio of the Virgin(Pinacoteca di Brera), coming
from the Church of Saint Francisco of the Città di Castello
city, it marks the culminating moment of the Raffaello when he was
twenty years old (1483 - 1520).
Jewel of the Pinacoteca di Brera, rebuilded after the total
destruction striked by burning bombs during the second world war,
marks the levels of highest prestige towards which the friends of
Brera, in rabid reaction to the destruction, they push it until
having an irrenounceable reference for the art and cultur.
In this painting harmonious union between architecture, natural
world and the perfect one semplicity in the disposition of the
figures they render an open homage to the Perugino, but, with, they
mark the overcoming of the models of the Master.
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The Christ dead(Pinacoteca of
Brera), was probably painted from Andrea Mantegna (1430 - 1506)
towards the end of the life for own tomb in the church of
Sant'Andrea to Mantova.
In an obsessive perspective end, the body of Christ, in the
immobility of the dead is placed on a table dipped in a groomy, mud
colour.
Sharp, impressive masterpiece.
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The supper of Emmaus(Pinacoteca
di Brera), of Michelangelo Merisi(1571 - 1610) said the Caravaggio
expresses in the face of the Christ left in the penumbra a
melancholy feeling.
The artistic revolution of the Caravaggio left from the
illusionistic perception of the perspective, of the light effects
and shadow, from the study of the perceptions of the mind and the
actions in them istantaneity.
In the evangelic story the pilgrims of Emmaus recognizes revived
Christ when He bless the broken bread, but in the same moment He
disappear to their sight.
Caravaggio dips us in alive of this thin game of apparition and
passing, acknowledgment and abandonment, lights and shadows.
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