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Milan Cathedral, Sforzesco Castle, Leonardo da Vinci last supper Roma Venezia
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Milan: the last supper, the Cathedral,...
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Milan: In this church, a famous man was lowing his head: he thought to the last supper.

   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.

Milan: the last supper

   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

Milan: The bastion of Sforza

   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.

Milan: Via Dante some years ago

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.

Milan: Maria Nascente

  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.

Milan: The Terzo Bersaglieri fanfare receiving the 100 000 black pens

  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.

Milan: The Galleria's entry

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.

Milan: The spires going up to the sky

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.

Milan: A last looking to the Madonnina

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.

Milan: To the back the Leonardo da Vinci statue in of the Scala place

   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.

Milan: the music temple

   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.

Milan: lo sposalizio della Vergine

   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.

Milan: Il Cristo morto

   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.

Milan: La cena di Emmaus

   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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