Guidebook for Milano
Drinks & Nightlife
Pandenus
3 Via Francesco Melzi d'ErilUna delle migliori pasticcerie - bar di Milano
Arts & Culture
1 MINUTE FROM THE APARTMENT
The Arco della Pace (Arch of Peace) is a triumphal arch, initially built in the early nineteenth century as part of the 'Foro Bonaparte' - a modern version of a Roman Forum - to celebrate Napoleon's victories.
The emperor's ouster in 1814 brought a premature end to the construction of this forum, and the arch is one of only two completed structures.
Today the Arco della Pace stands at the center of a pedestrianized plaza, at the edge of the Sempione Park.
The arch was designed by local architect Luigi Cagnola as a triumphal arch celebrating Napoleon's victories and was originally known as the Arco delle Vittorie (Arch of Victory). Its construction started in 1807 but when Napoleon abdicated as emperor in 1814 progress was halted.
In 1815, with the Habsburgs now in charge, the arch was renamed Arco della Pace (Arch of Peace) after the Congress of Peace that was held that year in Chariot of Peace on the Arco della Pace in Milan
Vienna to decide on Europe's post-Napoleonic future.
Work only resumed many years later, in 1826, and by the time the arch was inaugurated in 1838 at the occasion of the crowning of Ferdinand I as king of Lombardy-Veneto, its creator Luigi Cagnola was long dead.
Ferdinand I dedicated the arch to Francis I
but another change of power in 1859 resulted in the rededication of the arch to the newly unified Italy.
The design of the Arch of Peace was based on the Arch of Septimius Severus at the Forum Romanum in Rome, with a large central passageway flanked by two smaller ones.
The arch is clad in Crevola marble and decorated with Corinthian columns, bas-reliefs and sculptures.
The four large statues in front of the attic are allegorical representations of the rivers that flow through the former kingdom of Lombardy-Veneto: the Adige, Po, Ticino and Tagliamento.
On top of the arch stand three sculpture groups.
The central one - the Chariot of Peace - shows a six-horsed chariot, sculpted by Abbondio Sangiorgio.
The statues on either side of the arch were created by Giovanni Putti and are known as the Victories on Horseback. The sculptures were intended to face Paris, but now face the other way, towards the city.
Bas-reliefs along the sides of the arch depict post-Napoleonic events in Italian history.
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Arco Della Pace station
1 MINUTE FROM THE APARTMENT
The Arco della Pace (Arch of Peace) is a triumphal arch, initially built in the early nineteenth century as part of the 'Foro Bonaparte' - a modern version of a Roman Forum - to celebrate Napoleon's victories.
The emperor's ouster in 1814 brought a premature end to the construction of this forum, and the arch is one of only two completed structures.
Today the Arco della Pace stands at the center of a pedestrianized plaza, at the edge of the Sempione Park.
The arch was designed by local architect Luigi Cagnola as a triumphal arch celebrating Napoleon's victories and was originally known as the Arco delle Vittorie (Arch of Victory). Its construction started in 1807 but when Napoleon abdicated as emperor in 1814 progress was halted.
In 1815, with the Habsburgs now in charge, the arch was renamed Arco della Pace (Arch of Peace) after the Congress of Peace that was held that year in Chariot of Peace on the Arco della Pace in Milan
Vienna to decide on Europe's post-Napoleonic future.
Work only resumed many years later, in 1826, and by the time the arch was inaugurated in 1838 at the occasion of the crowning of Ferdinand I as king of Lombardy-Veneto, its creator Luigi Cagnola was long dead.
Ferdinand I dedicated the arch to Francis I
but another change of power in 1859 resulted in the rededication of the arch to the newly unified Italy.
The design of the Arch of Peace was based on the Arch of Septimius Severus at the Forum Romanum in Rome, with a large central passageway flanked by two smaller ones.
The arch is clad in Crevola marble and decorated with Corinthian columns, bas-reliefs and sculptures.
The four large statues in front of the attic are allegorical representations of the rivers that flow through the former kingdom of Lombardy-Veneto: the Adige, Po, Ticino and Tagliamento.
On top of the arch stand three sculpture groups.
The central one - the Chariot of Peace - shows a six-horsed chariot, sculpted by Abbondio Sangiorgio.
The statues on either side of the arch were created by Giovanni Putti and are known as the Victories on Horseback. The sculptures were intended to face Paris, but now face the other way, towards the city.
Bas-reliefs along the sides of the arch depict post-Napoleonic events in Italian history.
Teatro alla Scala
2 Via FilodrammaticiTHE MOST IMPORTANT SYMPHONY HALL IN THE WORDL
The Pinacoteca di Brera is one Italy's most important art galleries, with an especially impressive collection of paintings by Italian masters from the fourteenth to the twentieth century.
The Pinacoteca di Brera is housed in the Palazzo di Brera, a palace that was built at the end of the seventeenth century by the Jesuits at the site of a convent founded in the fourteenth century by the Humiliati, a religious order.
One year after the Humiliati were suppressed by a papal bull in 1571, the Jesuits took ownership of the convent and established a school, a library and an astronomical observatory at the site. They commissioned architect Francesco Maria Richini with the construction of a grand palace.
In 1773, almost two hundred years and several architects later the building, now known as the Palazzo di Brera, was finally completed. The portal was added even later, in 1780. In the meantime the Jesuits had been evicted by empress Maria Theresa of Austria who handed the palazzo in 1773 to the Accademia di Belle Arti, a newly founded arts academy.
The palace was initially designed in the Baroque style, a style favored by the Jesuits, but at the end of the eighteenth century it was remodeled in the neoclassical style preferred by Maria Theresa.
A portal flanked by stone columns leads to a rectangular inner courtyard enclosed by two arcaded stories. In the middle of the courtyard is a bronze statue of Napoleon. It was cast in 1809 by Antonio Canova, a Venetian sculptor and shows the French emperor as Mars the Peacemaker. A number of others statues in the courtyard honor artists, scientists and patrons of the arts.
Several cultural institutions are housed in the Palazzo Brera, including a library, an observatory, a science academy, an art academy and the art gallery.
Accademia di Belle Arti
The collection of the art gallery started out small with sketches and replica sculptures that students of the Brera Art Academy (Accademia di Belle Arti) could use as training material. That soon changed during the Napoleonic era, when the collection was significantly expanded with artwork confiscated from convents and churches.
In 1809, Napoleon founded the Pinacoteca di Brera which displayed its artwork in four rooms of the Palazzo di Brera. Virgin and Saints, Piero della Francesca
In 1882, after the unification of Italy, the pinacoteca was separated from the art academy and became a state gallery.
After Napoleon declared Milan capital of the Kingdom of Italy the art gallery was endowed with works from across the territory, including masterpieces from artists such as Raphael and Caravaggio. An exchange with the Louvre in Paris also brought some Flemish masterpieces to the Brera Palace, with works from Rubens, Jordaens and Van Dyck. The collection continued to expand during the nineteenth and twentieth centuries thanks to numerous donations and acquisitions.
The works of art are displayed chronologically and span an era of more than six centuries. The majority of paintings are from Italian masters, with an especially large collection of Renaissance paintings from Lombardy and Veneto; the museum has the largest collection of Venetian art outside of Venice.
Some of the highlights in the museum are the 'Virgin and Saints' by Piero della Francesca, Raphael's 'Marriage of the Virgin', Caravaggio's 'Supper at Emmaus' and Mantegna's 'Lamentation over Dead Christ'.
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Brera Academy
28 Via BreraThe Pinacoteca di Brera is one Italy's most important art galleries, with an especially impressive collection of paintings by Italian masters from the fourteenth to the twentieth century.
The Pinacoteca di Brera is housed in the Palazzo di Brera, a palace that was built at the end of the seventeenth century by the Jesuits at the site of a convent founded in the fourteenth century by the Humiliati, a religious order.
One year after the Humiliati were suppressed by a papal bull in 1571, the Jesuits took ownership of the convent and established a school, a library and an astronomical observatory at the site. They commissioned architect Francesco Maria Richini with the construction of a grand palace.
In 1773, almost two hundred years and several architects later the building, now known as the Palazzo di Brera, was finally completed. The portal was added even later, in 1780. In the meantime the Jesuits had been evicted by empress Maria Theresa of Austria who handed the palazzo in 1773 to the Accademia di Belle Arti, a newly founded arts academy.
The palace was initially designed in the Baroque style, a style favored by the Jesuits, but at the end of the eighteenth century it was remodeled in the neoclassical style preferred by Maria Theresa.
A portal flanked by stone columns leads to a rectangular inner courtyard enclosed by two arcaded stories. In the middle of the courtyard is a bronze statue of Napoleon. It was cast in 1809 by Antonio Canova, a Venetian sculptor and shows the French emperor as Mars the Peacemaker. A number of others statues in the courtyard honor artists, scientists and patrons of the arts.
Several cultural institutions are housed in the Palazzo Brera, including a library, an observatory, a science academy, an art academy and the art gallery.
Accademia di Belle Arti
The collection of the art gallery started out small with sketches and replica sculptures that students of the Brera Art Academy (Accademia di Belle Arti) could use as training material. That soon changed during the Napoleonic era, when the collection was significantly expanded with artwork confiscated from convents and churches.
In 1809, Napoleon founded the Pinacoteca di Brera which displayed its artwork in four rooms of the Palazzo di Brera. Virgin and Saints, Piero della Francesca
In 1882, after the unification of Italy, the pinacoteca was separated from the art academy and became a state gallery.
After Napoleon declared Milan capital of the Kingdom of Italy the art gallery was endowed with works from across the territory, including masterpieces from artists such as Raphael and Caravaggio. An exchange with the Louvre in Paris also brought some Flemish masterpieces to the Brera Palace, with works from Rubens, Jordaens and Van Dyck. The collection continued to expand during the nineteenth and twentieth centuries thanks to numerous donations and acquisitions.
The works of art are displayed chronologically and span an era of more than six centuries. The majority of paintings are from Italian masters, with an especially large collection of Renaissance paintings from Lombardy and Veneto; the museum has the largest collection of Venetian art outside of Venice.
Some of the highlights in the museum are the 'Virgin and Saints' by Piero della Francesca, Raphael's 'Marriage of the Virgin', Caravaggio's 'Supper at Emmaus' and Mantegna's 'Lamentation over Dead Christ'.
Food Scene
ONE OF THE BEST PIZZA RESTAURANT IN THE CITY, IT IS ONLY 3 MINUTES FAR FROM APARTMENT
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La Pizza
81 Via Luigi CanonicaONE OF THE BEST PIZZA RESTAURANT IN THE CITY, IT IS ONLY 3 MINUTES FAR FROM APARTMENT
La Scamperia
2 Via Giuseppe PiermariniFISH RESTAURANT
Taverna dei Golosi
12 Corso SempioneFamous meat restaurant
Deseo
2 Corso SempioneBar - restaurant. Famous for drinks
Living
Famous Happy Hour bar
Parks & Nature
THE MOST IMPORTANT PARK IN THE CITY, IT IS CLOSEST TO APARTMENT
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Parque Sempione
Piazza SempioneTHE MOST IMPORTANT PARK IN THE CITY, IT IS CLOSEST TO APARTMENT
Sightseeing
ONE OF THE MOST IMPORTANT CASTLE OM THE MIDDLE AGE IN THE WORDL
The Sforzesco Castle is one of Milan's most important landmarks. It long served as a symbol of power for local and foreign rulers. At the start of the early twentieth century the castle was saved from demolition and now houses a number of civic museums.
In 1358 Galeazzo Il Visconti, the first duke of Milan, ordered the construction of a fortress. Completed in 1368, it had a basic layout with four walls, each one hundred eighty meters long (591 ft) and a square tower at each corner. His successors Gian Galeazzo and Filippo Maria expanded the fortress and converted it into a palatial residence. After Filippo Maria Visconti died without leaving a heir in 1447, the Milanese people proclaimed the Ambrosian Republic and razed the castle - seen as a symbol of the Visconti - to the ground.
The fledgling republic, which was at war with Venice, turned to the renowned military leader Francesco Sforza for help. Just three years later, Sforza grabbed power and declared himself duke of Milan. He quickly rebuilt the castle, this time with a seventy meter (230 ft) tall central tower - the Torre del Filarete, flanked with large round towers. His successors further improved and embellished the structure.
In its heyday during the reign of Ludovico Sforza - nicknamed 'Il Moro', the castle was transformed into a magnificent Renaissance residence. The duke turned to the great artists of his time, including Donato Bramante and Leonardo da Vinci to decorate the castle.
During the following centuries, when Milan was under foreign rule, the castle was neglected and mostly used as a barracks. The Torre del Filarete, which was used as a munition storage, exploded in 1521. During the latter part of the sixteenth century the Spanish added star-shaped fortifications around the castle, later partially demolished by Napoleon's troops.
After the Italian unification in 1861 the castle was in such a bad shape that the city considered demolishing the tattered structure. Architect Luca Beltrami however saved the castle from the wrecking ball by suggesting to convert it into a public building with room for several cultural institutions. In 1893 Beltrami started renovating the monumental castle. He rebuilt the damaged towers, recreated the moat and removed structures that were added during foreign rule. He even rebuilt the Torre del Filarete after the original plans.
In 1900 the renovated Sforzesco Castle opened to the public. Work would continue until 1905, when the reconstruction of the Torre del Filarete was completed.
The present castle, with a square plan laid out around three inner courtyards, is dominated by its many towers. There are four imposing towers at each corner: two round towers at the main facade facing the city and two square towers at the other end. The thirty-one meter (102ft) tall, round towers are known as the Torre di Santi Spirito and the Torre del Carmine. At the rear are two more conventional towers, the Torre Castellana and Torre Falconiera.
The main entrance to the Sforzesco Castle leads through the castle's tallest tower - the Torre del Filarete - to the Piazza d'Armi, an expansive inner courtyard. Another tower, the Torre di Bona di Savoia, is visible from the courtyard.
Behind this tower lies the heart of the castle with the palatial residences of the Sforza dukes enclosing two smaller courtyards: the Cortile della Rocchetta to the left and the Corte Ducale to the right.
The Rocchetta was the castle's stronghold and the last refuge in case of a siege. During the reign of Ludovico Il Moro, the residences around the courtyard were magnificently decorated with frescoes. The three arcades bordering the courtyard were designed by three different architects. The Torre Castellana, the tower at western corner of the Rocchetta, was at the time used as a treasury.
The Corte Ducale (Ducal Courtyard) has an elegant Renaissance design, with a beautiful loggia, the Loggetta di Galeazzo Maria. Several rooms around the Corte Ducale are decorated with magnificent frescoes from the fifteenth century.
The most famous is the fresco in the Sala delle Asse in the Falconiera tower, created by none other than Leonardo da Vinci.
Castello Sforzesco is home to a number of museums, the Musei Civici. They are spread out over several floors around the Rocchetta and Ducal courtyard.
The collection of the archaeological museum, which contains prehistoric and Egyptian artifacts can be viewed in the basement floors around the Ducal
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Castello Sforzesco
Piazza CastelloONE OF THE MOST IMPORTANT CASTLE OM THE MIDDLE AGE IN THE WORDL
The Sforzesco Castle is one of Milan's most important landmarks. It long served as a symbol of power for local and foreign rulers. At the start of the early twentieth century the castle was saved from demolition and now houses a number of civic museums.
In 1358 Galeazzo Il Visconti, the first duke of Milan, ordered the construction of a fortress. Completed in 1368, it had a basic layout with four walls, each one hundred eighty meters long (591 ft) and a square tower at each corner. His successors Gian Galeazzo and Filippo Maria expanded the fortress and converted it into a palatial residence. After Filippo Maria Visconti died without leaving a heir in 1447, the Milanese people proclaimed the Ambrosian Republic and razed the castle - seen as a symbol of the Visconti - to the ground.
The fledgling republic, which was at war with Venice, turned to the renowned military leader Francesco Sforza for help. Just three years later, Sforza grabbed power and declared himself duke of Milan. He quickly rebuilt the castle, this time with a seventy meter (230 ft) tall central tower - the Torre del Filarete, flanked with large round towers. His successors further improved and embellished the structure.
In its heyday during the reign of Ludovico Sforza - nicknamed 'Il Moro', the castle was transformed into a magnificent Renaissance residence. The duke turned to the great artists of his time, including Donato Bramante and Leonardo da Vinci to decorate the castle.
During the following centuries, when Milan was under foreign rule, the castle was neglected and mostly used as a barracks. The Torre del Filarete, which was used as a munition storage, exploded in 1521. During the latter part of the sixteenth century the Spanish added star-shaped fortifications around the castle, later partially demolished by Napoleon's troops.
After the Italian unification in 1861 the castle was in such a bad shape that the city considered demolishing the tattered structure. Architect Luca Beltrami however saved the castle from the wrecking ball by suggesting to convert it into a public building with room for several cultural institutions. In 1893 Beltrami started renovating the monumental castle. He rebuilt the damaged towers, recreated the moat and removed structures that were added during foreign rule. He even rebuilt the Torre del Filarete after the original plans.
In 1900 the renovated Sforzesco Castle opened to the public. Work would continue until 1905, when the reconstruction of the Torre del Filarete was completed.
The present castle, with a square plan laid out around three inner courtyards, is dominated by its many towers. There are four imposing towers at each corner: two round towers at the main facade facing the city and two square towers at the other end. The thirty-one meter (102ft) tall, round towers are known as the Torre di Santi Spirito and the Torre del Carmine. At the rear are two more conventional towers, the Torre Castellana and Torre Falconiera.
The main entrance to the Sforzesco Castle leads through the castle's tallest tower - the Torre del Filarete - to the Piazza d'Armi, an expansive inner courtyard. Another tower, the Torre di Bona di Savoia, is visible from the courtyard.
Behind this tower lies the heart of the castle with the palatial residences of the Sforza dukes enclosing two smaller courtyards: the Cortile della Rocchetta to the left and the Corte Ducale to the right.
The Rocchetta was the castle's stronghold and the last refuge in case of a siege. During the reign of Ludovico Il Moro, the residences around the courtyard were magnificently decorated with frescoes. The three arcades bordering the courtyard were designed by three different architects. The Torre Castellana, the tower at western corner of the Rocchetta, was at the time used as a treasury.
The Corte Ducale (Ducal Courtyard) has an elegant Renaissance design, with a beautiful loggia, the Loggetta di Galeazzo Maria. Several rooms around the Corte Ducale are decorated with magnificent frescoes from the fifteenth century.
The most famous is the fresco in the Sala delle Asse in the Falconiera tower, created by none other than Leonardo da Vinci.
Castello Sforzesco is home to a number of museums, the Musei Civici. They are spread out over several floors around the Rocchetta and Ducal courtyard.
The collection of the archaeological museum, which contains prehistoric and Egyptian artifacts can be viewed in the basement floors around the Ducal
The Santa Maria delle Grazie is one of Milan's most beautiful churches thanks in part to its architectural history, which resulted in an intriguing combination of Gothic and Renaissance design.
But the church's fame is mostly a result of Leonardo da Vinci's 'Last Supper', which can be admired in the adjoining refectory.
In 1463 the Dominican Order commissioned Guiniforte Solari with the construction of a church for their monastery. Solari designed a beautiful structure in a late Gothic style, which was completed in 1490.
Ludovico il Moro, the duke of Milan, decided the Santa Maria delle Grazie would be a perfect sepulchre for him and his wife and in preparation asked Donato Bramante in 1492 to remodel the church.
Bramante rebuilt the apse and crowned it with a magnificent sixteen-sided drum in Renaissance style.
Ludovico's wife Beatrice d'Este was buried here in 1497.
Ludovico Il Moro himself however was ousted in 1500 and his sepulchral monument was moved to the Certosa of Pavia.
In 1943 allied bombardments destroyed the main cloister. The church was damaged but Bramante's dome escaped unscathed.
The building was restored shortly after the war, in 1947.
Both the interior and exterior of the church show an interesting combination of Gothic and Renaissance styles. The sober brick facade was designed by Solari while the Renaissance-style entrance is attributed to Bramante.
The lunette in the portico was painted by Leonardo da Vinci and shows Mary accompanied by Ludovico and his wife.
The exterior is dominated by Bramante's masterfully designed dome, decorated with medallions of saints and coats-of-arms.
The central nave and aisles are magnificent examples of late Gothic architecture.
It features elegant pointed arches embellished with delicate frescoes.
The Renaissance style chancel is less decorated and seems almost sparse in contrast.
The cloister of the Santa Maria delle Grazie Church
Along the aisles are a number of chapels, many of which are beautifully decorated with frescoes.
Also of note are the wooden choir stalls in the apse.
To the left is the entrance to the Chiostrino delle Rane, a small cloister named after the bronze frog sculptures around the edge of the cloister's fountain:
From here you have a nice view of the church's dome.
The Last Supper in the Cenacolo Vinciano
Adjoining the church is a modest building, known as the Cenacolo Vinciano.
It was built by Solari as the refectory for the Dominicans and is now famous for Leonardo da Vinci's painting of The Last Supper.
The Italian master created the wall painting between 1495 and 1498 on request of Ludovico il Moro.
The artist depicts the moment after Jesus tells his disciples that one of them will betray him.
The work shows their surprise with realistic facial expressions, lively poses and subtle light.
Da Vinci used an experimental technique, known as Tempera Forte, to paint the Last Supper.
This allowed him to paint with more nuances than would be possible with a conventional fresco, but already in 1518 it became clear that this technique led to a fast deterioration of the painting.
In 1568 art historian Giorgio Vasari considered it a lost cause.
In 1726 Michelangelo Bellotti completely repainted the work and numerous restorations followed, the last of which started in the 1970s and was concluded in 1999.
Opposite Leonardo's masterpiece is a fresco painted by Donato Montorfano.
Both paintings almost miraculously survived the bombing of 1943 which turned the rest of the refectory into ruins, probably thanks to sandbags that were placed against the walls.
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Santa Maria das Graças
Piazza di Santa Maria delle GrazieThe Santa Maria delle Grazie is one of Milan's most beautiful churches thanks in part to its architectural history, which resulted in an intriguing combination of Gothic and Renaissance design.
But the church's fame is mostly a result of Leonardo da Vinci's 'Last Supper', which can be admired in the adjoining refectory.
In 1463 the Dominican Order commissioned Guiniforte Solari with the construction of a church for their monastery. Solari designed a beautiful structure in a late Gothic style, which was completed in 1490.
Ludovico il Moro, the duke of Milan, decided the Santa Maria delle Grazie would be a perfect sepulchre for him and his wife and in preparation asked Donato Bramante in 1492 to remodel the church.
Bramante rebuilt the apse and crowned it with a magnificent sixteen-sided drum in Renaissance style.
Ludovico's wife Beatrice d'Este was buried here in 1497.
Ludovico Il Moro himself however was ousted in 1500 and his sepulchral monument was moved to the Certosa of Pavia.
In 1943 allied bombardments destroyed the main cloister. The church was damaged but Bramante's dome escaped unscathed.
The building was restored shortly after the war, in 1947.
Both the interior and exterior of the church show an interesting combination of Gothic and Renaissance styles. The sober brick facade was designed by Solari while the Renaissance-style entrance is attributed to Bramante.
The lunette in the portico was painted by Leonardo da Vinci and shows Mary accompanied by Ludovico and his wife.
The exterior is dominated by Bramante's masterfully designed dome, decorated with medallions of saints and coats-of-arms.
The central nave and aisles are magnificent examples of late Gothic architecture.
It features elegant pointed arches embellished with delicate frescoes.
The Renaissance style chancel is less decorated and seems almost sparse in contrast.
The cloister of the Santa Maria delle Grazie Church
Along the aisles are a number of chapels, many of which are beautifully decorated with frescoes.
Also of note are the wooden choir stalls in the apse.
To the left is the entrance to the Chiostrino delle Rane, a small cloister named after the bronze frog sculptures around the edge of the cloister's fountain:
From here you have a nice view of the church's dome.
The Last Supper in the Cenacolo Vinciano
Adjoining the church is a modest building, known as the Cenacolo Vinciano.
It was built by Solari as the refectory for the Dominicans and is now famous for Leonardo da Vinci's painting of The Last Supper.
The Italian master created the wall painting between 1495 and 1498 on request of Ludovico il Moro.
The artist depicts the moment after Jesus tells his disciples that one of them will betray him.
The work shows their surprise with realistic facial expressions, lively poses and subtle light.
Da Vinci used an experimental technique, known as Tempera Forte, to paint the Last Supper.
This allowed him to paint with more nuances than would be possible with a conventional fresco, but already in 1518 it became clear that this technique led to a fast deterioration of the painting.
In 1568 art historian Giorgio Vasari considered it a lost cause.
In 1726 Michelangelo Bellotti completely repainted the work and numerous restorations followed, the last of which started in the 1970s and was concluded in 1999.
Opposite Leonardo's masterpiece is a fresco painted by Donato Montorfano.
Both paintings almost miraculously survived the bombing of 1943 which turned the rest of the refectory into ruins, probably thanks to sandbags that were placed against the walls.
Palazzo Giureconsulti is one of the fundamental features of Piazza dei Mercanti, topographical centre of Medieval Milan and heart of the economic and social life of those times.
The history of the old collegio nobiliare concluded on 8 July 1797 following the French revolution and the descent of Napoleonic troops upon Italy.
The constitution of the republic decreed that all professional and artisanal associations must be disbanded.
The new laws were immediately applied to the Collegio dei Giureconsulti (school for aspiring lawyers and politicians), which was suppressed as a historical instrument of aristocratic power and source of magistrates.
In 1809 the Camera dei Mercanti (Merchants Guild) acquired the west room and inaugurated Milan’s first Stock Exchange.
Rapid development of stock trading soon made it necessary to increase the size of the room, which was accomplished by occupying a portion of the portico.
In the years 1872-1876 Palazzo Giureconsulti underwent significant structural modifications following the construction of Via Carlo Alberto.
A telegraph was installed in this period and Banca Popolare di Milano established its offices on the first floor.
The Stock Exchange and telegraph coexisted for only a few years: in 1901 the Stock Exchange in Piazza Cordusio was completed.
After the Stock Exchange moved out, the city of Milan concerned itself with the fate of Palazzo Giureconsulti, now lacking a clearly defined purpose.
Palazzo Giureconsulti
2 Piazza dei MercantiPalazzo Giureconsulti is one of the fundamental features of Piazza dei Mercanti, topographical centre of Medieval Milan and heart of the economic and social life of those times.
The history of the old collegio nobiliare concluded on 8 July 1797 following the French revolution and the descent of Napoleonic troops upon Italy.
The constitution of the republic decreed that all professional and artisanal associations must be disbanded.
The new laws were immediately applied to the Collegio dei Giureconsulti (school for aspiring lawyers and politicians), which was suppressed as a historical instrument of aristocratic power and source of magistrates.
In 1809 the Camera dei Mercanti (Merchants Guild) acquired the west room and inaugurated Milan’s first Stock Exchange.
Rapid development of stock trading soon made it necessary to increase the size of the room, which was accomplished by occupying a portion of the portico.
In the years 1872-1876 Palazzo Giureconsulti underwent significant structural modifications following the construction of Via Carlo Alberto.
A telegraph was installed in this period and Banca Popolare di Milano established its offices on the first floor.
The Stock Exchange and telegraph coexisted for only a few years: in 1901 the Stock Exchange in Piazza Cordusio was completed.
After the Stock Exchange moved out, the city of Milan concerned itself with the fate of Palazzo Giureconsulti, now lacking a clearly defined purpose.
The famed Galleria Vittorio Emanuele II is a magnificent shopping arcade in Milan, covered with a glass and iron roof. The interior of the impressive five story structure is decorated with patriotic mosaics and statues.
In 1860 the local government of Milan launched a competition for the redevelopment of a historic area between the Cathedral and the Scala Opera House.
A monumental design by the Bolognese architect Giuseppe Mengoni was selected. Mengoni had studied the historic shopping arcades in Paris and proposed a large scale, glass covered arcade to connect the square in front of the cathedral, Piazza del Duomo, with the newly created square in front of the opera house of Milan, Piazza della Scala.
The first stone was laid on March 7, 1865 by king Victor Emmanuel II, after whom the arcade is named. Despite lukewarm local support - even a lottery failed to raise enough money - the project went smoothly and the Galleria was officially inaugurated on September 15, 1867.
Work continued for another ten years - mainly on the imposing triumphal entrance. The day before its completion in December 1877, Mengoni fell to his death from the top of the triumphal arch.
The Living Room of Milan
Mengoni lived long enough to see his creation become a major success. The Milanese, who initially opposed the construction of the Galleria since it destroyed a historic part of the city, quickly embraced the magnificent arcade and it was soon dubbed 'Il Salotto di Milano' - the living room of Milan - since the Galleria became the favored meeting place in the city.
The Galleria
The Galleria Vittorio Emanuele II is impressive if only for its dimensions: formed like a Latin cross, its longer walkway measures 196 meters long and the shorter one 105.5 meters (643 x 346 ft). The two iron and glass covered walkways meet at an octagonal central piazza below a grand forty-seven meter high (154 ft), thirty-six meter wide glass dome. The entrance from the Piazza del Duomo is framed by a monumental triumphal arch, drawing people from the square in front of the cathedral to the arcade.
The Galleria was constructed during the turbulent era of Italian unification and for its architect, the Galleria symbolized Italian unity and self-confidence, so it is no surprise that the arcade is decorated with plenty of patriotic symbols. Mosaics on the floor below the dome depict the coat of arms of Savoy and Italian cities are allegorically represented: a wolf for Rome, a lily for Florence, a bull for Turin and a white flag with red cross for Milan. Stepping with the heel of your foot on the genitals of the bull is supposed to bring good luck, so it's no surprise that the mosaics have to be renovated on a regular basis.
Statues on the facades just below the glass roof of the arcade honor Italian artists and scientists. The four mosaics in the lunettes below the central dome represent four parts of the world: Europe, America, Africa and Asia. They were created in 1911 to replace the original frescoes that were already fading away.
Since it is one of Milan's most popular attractions, the Galleria is constantly crowded with locals and tourists, the latter often snapping pictures or gazing at the spectacular architecture. Others window-shop at the upscale stores or take a break at one of the Galleria's cafés and restaurants. The most famous is the Savini, a prestigious restaurant.
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Galleria Vittorio Emanuele II
Piazza del DuomoThe famed Galleria Vittorio Emanuele II is a magnificent shopping arcade in Milan, covered with a glass and iron roof. The interior of the impressive five story structure is decorated with patriotic mosaics and statues.
In 1860 the local government of Milan launched a competition for the redevelopment of a historic area between the Cathedral and the Scala Opera House.
A monumental design by the Bolognese architect Giuseppe Mengoni was selected. Mengoni had studied the historic shopping arcades in Paris and proposed a large scale, glass covered arcade to connect the square in front of the cathedral, Piazza del Duomo, with the newly created square in front of the opera house of Milan, Piazza della Scala.
The first stone was laid on March 7, 1865 by king Victor Emmanuel II, after whom the arcade is named. Despite lukewarm local support - even a lottery failed to raise enough money - the project went smoothly and the Galleria was officially inaugurated on September 15, 1867.
Work continued for another ten years - mainly on the imposing triumphal entrance. The day before its completion in December 1877, Mengoni fell to his death from the top of the triumphal arch.
The Living Room of Milan
Mengoni lived long enough to see his creation become a major success. The Milanese, who initially opposed the construction of the Galleria since it destroyed a historic part of the city, quickly embraced the magnificent arcade and it was soon dubbed 'Il Salotto di Milano' - the living room of Milan - since the Galleria became the favored meeting place in the city.
The Galleria
The Galleria Vittorio Emanuele II is impressive if only for its dimensions: formed like a Latin cross, its longer walkway measures 196 meters long and the shorter one 105.5 meters (643 x 346 ft). The two iron and glass covered walkways meet at an octagonal central piazza below a grand forty-seven meter high (154 ft), thirty-six meter wide glass dome. The entrance from the Piazza del Duomo is framed by a monumental triumphal arch, drawing people from the square in front of the cathedral to the arcade.
The Galleria was constructed during the turbulent era of Italian unification and for its architect, the Galleria symbolized Italian unity and self-confidence, so it is no surprise that the arcade is decorated with plenty of patriotic symbols. Mosaics on the floor below the dome depict the coat of arms of Savoy and Italian cities are allegorically represented: a wolf for Rome, a lily for Florence, a bull for Turin and a white flag with red cross for Milan. Stepping with the heel of your foot on the genitals of the bull is supposed to bring good luck, so it's no surprise that the mosaics have to be renovated on a regular basis.
Statues on the facades just below the glass roof of the arcade honor Italian artists and scientists. The four mosaics in the lunettes below the central dome represent four parts of the world: Europe, America, Africa and Asia. They were created in 1911 to replace the original frescoes that were already fading away.
Since it is one of Milan's most popular attractions, the Galleria is constantly crowded with locals and tourists, the latter often snapping pictures or gazing at the spectacular architecture. Others window-shop at the upscale stores or take a break at one of the Galleria's cafés and restaurants. The most famous is the Savini, a prestigious restaurant.
5 minutes walking from apartment, through Sempione's Park and The Castle, you will reach Piazza Mercanti
Piazza Mercanti is a picturesque square just a stone's thrown away from the Duomo. During the Middle Ages, this was the commercial and governmental center of Milan.
At the time the city hall, lawcourt and even a prison were located at this square. Weddings were announced here as well. Due to its importance and central location the square was always buzzing with activity. And a market made the square even more crowded.
Today it is not as hectic anymore though the intimate pedestrianized square does seem to throw you back to the Middle Ages thanks to its historic architecture.
The large building at the center of Piazza Mercanti is the Palazzo della Ragione, which was built between 1228 and 1233. It was constructed on order of Milan's magistrate, Oldrado da Tresseno, who is depicted on a horse in a niche on the exterior of the Palazzo. The statue was possibly created by Benedetto Antelami, one of the era's most renowned sculptors.
The first floor of the Palazzo della Ragione was home to the city's law courts until the eighteenth century and the open arcade below was the site of a daily market. The top floor was added in 1773 as a storage archive.
Arguably the most intriguing building at the Piazza Mercanti is the Loggia degli Osii, commissioned in 1316 by Matteo Visconti, who at the time ruled over Milan.
The building was constructed as a loggia, with large open arcades and housed offices of notaries and judges. The building's facade is embellished with statues of saints and coats of arms. From its balcony officials announced weddings, edicts and sentences.
Adjacent to the Loggia degli Osii is the Palazzo delle Scuole Palatine, an ornate Baroque palace that was built here in 1645. The sculptures decorating the facade depict Saint Augustine and the Roman poet Ausonius.
To the right of the Scuole Palatine is the Casa dei Panigarola, a beautiful building with pointed arches in Gothic style, decorated with terra cotta ornaments. The building was used as an office where official decrees were transcribed.
The north side, along the Via dei Mercati, is dominated by the Palazzo dei Giureconsulti, home to the chamber of commerce. The central tower is known as the Torre del Comune and was built here in 1272 by Napo Torriani, who ruled over Milan until he was defeated by Ottone Visconti in 1277. This event heralded an era of rule by the Visconti over Milan, which would last until the mid-fifteenth century. The statue in the niche depicts Saint Ambrose, patron saint of Milan.
65 moradores locais recomendam
Piazza Mercanti
Piazza dei Mercanti5 minutes walking from apartment, through Sempione's Park and The Castle, you will reach Piazza Mercanti
Piazza Mercanti is a picturesque square just a stone's thrown away from the Duomo. During the Middle Ages, this was the commercial and governmental center of Milan.
At the time the city hall, lawcourt and even a prison were located at this square. Weddings were announced here as well. Due to its importance and central location the square was always buzzing with activity. And a market made the square even more crowded.
Today it is not as hectic anymore though the intimate pedestrianized square does seem to throw you back to the Middle Ages thanks to its historic architecture.
The large building at the center of Piazza Mercanti is the Palazzo della Ragione, which was built between 1228 and 1233. It was constructed on order of Milan's magistrate, Oldrado da Tresseno, who is depicted on a horse in a niche on the exterior of the Palazzo. The statue was possibly created by Benedetto Antelami, one of the era's most renowned sculptors.
The first floor of the Palazzo della Ragione was home to the city's law courts until the eighteenth century and the open arcade below was the site of a daily market. The top floor was added in 1773 as a storage archive.
Arguably the most intriguing building at the Piazza Mercanti is the Loggia degli Osii, commissioned in 1316 by Matteo Visconti, who at the time ruled over Milan.
The building was constructed as a loggia, with large open arcades and housed offices of notaries and judges. The building's facade is embellished with statues of saints and coats of arms. From its balcony officials announced weddings, edicts and sentences.
Adjacent to the Loggia degli Osii is the Palazzo delle Scuole Palatine, an ornate Baroque palace that was built here in 1645. The sculptures decorating the facade depict Saint Augustine and the Roman poet Ausonius.
To the right of the Scuole Palatine is the Casa dei Panigarola, a beautiful building with pointed arches in Gothic style, decorated with terra cotta ornaments. The building was used as an office where official decrees were transcribed.
The north side, along the Via dei Mercati, is dominated by the Palazzo dei Giureconsulti, home to the chamber of commerce. The central tower is known as the Torre del Comune and was built here in 1272 by Napo Torriani, who ruled over Milan until he was defeated by Ottone Visconti in 1277. This event heralded an era of rule by the Visconti over Milan, which would last until the mid-fifteenth century. The statue in the niche depicts Saint Ambrose, patron saint of Milan.
THE MOST IMPORTANT MONUMENT IN MILANO, YOU CAN ARRIVE THERE WALKING THROUGH SEMPIONE PARK AND SFORZESCO CASTLE.
The Duomo di Milano, Milan's magnificent Gothic cathedral, is one of the world's largest churches.
Its dazzling white front facade, arguably the world's most beautiful, dominates the cathedral square.
The Duomo is literally at the center of Milan.
Streets radiate from the cathedral or circle it.
The cathedral occupies a site that has been the most central location in the city since its founding.
The construction of the cathedral was commissioned by bishop Antonio da Saluzzo in 1385.
He was supported by the first duke of Milan, Gian Galeazzo Visconti, who envisioned the creation of the world's largest church.
He gave access to his marble quarries, granted tax exemptions and invited architects from across Europe. Construction commenced in 1386, but it would drag on for centuries. When the cathedral was consecrated in 1418, construction of the nave had only just started. Construction would continue until 1813, and final finishes were applied as late as in 1965.
Over the years numerous master builders were involved and the initial design was continuously altered to become even more spectacular. The long construction period also led to a mash-up of a variety of styles but the final result is surprisingly homogenous, with a decidedly flamboyant Gothic design.
After completing the foundation and plinth of the cathedral, work focused on the apse. This part is considered the architectural highlight of the church, and its Gothic design was influenced by master builders who hailed from Germany. Work then progressed slowly towards the front.
It wasn't until the nineteenth century before the Duomo's most imposing element, the front facade facing Piazza del Duomo, was completed. The five bronze doorways also look a lot older than they actually are. The central one is the oldest and was created in the nineteenth century by Ludovico Pogliaghi. The other doors were created in the mid-twentieth century; the fifth doorway is the most recent, and was created as recent as in 1965. The panels on the doors depict episodes in the lives of the virgin Mary, Saint Ambrose (patron of Milan) and Saint Charles Borromeo as well as scenes from the history of Milan and the construction of the cathedral.
The Duomo is decorated with an amazing number of beautifully sculpted statues and spires. There are more statues on this building than any other in the world, 3159 in total. 2245 of these are on the exterior together with 96 gargoyles and 135 spires. It is said that if the statues were placed on top of each other, they would reach a height of about 5300 meters (3.3 mi).
The most famous of all these is the Madonnina (Little Madonna), a copper statue of the virgin Mary covered with 3900 pieces of gold leaf. It was cast in 1774 by goldsmith Giuseppe Bini and sculptor Giuseppe Perego. The statue, four meters and sixteen centimeters tall (almost 14 ft), was placed on top of the cathedral's tallest spire and until 1959 marked the highest point in the city at 108.5 meters.
The inside of Milan's Cathedral is expansive but rather dark. There are five large naves divided by fifty-two pillars - one for each week of the year - that support the cross vaulted ceiling.
Of particular note inside the cathedral are a number of architectural pieces and works of art including a statue of St. Bartholomew by Marco d'Agrate. There are three wonderful altars designed by Pellegrino Pellegrini, all of which include some excellent art such as the renowned Visit of St. Peter to St. Agatha Jailed by Federico Zuccari. Other masterpieces include the Renaissance marble altar in the right transept and the Trivulzio Candelabrum, the base of which was crafted in the twelfth century and features imaginary animals, vegetables, and vines. Also notable is a spot above the apse that is marked with a red light bulb. This is supposedly the spot where one of the nails used in Jesus's crucifixion was placed.
After exploring the inside, visitors can pay a small fee to take a fascinating trip to the Duomo's roof via steps or elevator. It's amazing to walk among the forest of spires and the view from the roof is unmatched. On a clear day you can see as far as the Alps and Apennines. The roof is quite safe and should pose no problems even for those afraid of heights.
2114 moradores locais recomendam
Catedral de Milão
Piazza del DuomoTHE MOST IMPORTANT MONUMENT IN MILANO, YOU CAN ARRIVE THERE WALKING THROUGH SEMPIONE PARK AND SFORZESCO CASTLE.
The Duomo di Milano, Milan's magnificent Gothic cathedral, is one of the world's largest churches.
Its dazzling white front facade, arguably the world's most beautiful, dominates the cathedral square.
The Duomo is literally at the center of Milan.
Streets radiate from the cathedral or circle it.
The cathedral occupies a site that has been the most central location in the city since its founding.
The construction of the cathedral was commissioned by bishop Antonio da Saluzzo in 1385.
He was supported by the first duke of Milan, Gian Galeazzo Visconti, who envisioned the creation of the world's largest church.
He gave access to his marble quarries, granted tax exemptions and invited architects from across Europe. Construction commenced in 1386, but it would drag on for centuries. When the cathedral was consecrated in 1418, construction of the nave had only just started. Construction would continue until 1813, and final finishes were applied as late as in 1965.
Over the years numerous master builders were involved and the initial design was continuously altered to become even more spectacular. The long construction period also led to a mash-up of a variety of styles but the final result is surprisingly homogenous, with a decidedly flamboyant Gothic design.
After completing the foundation and plinth of the cathedral, work focused on the apse. This part is considered the architectural highlight of the church, and its Gothic design was influenced by master builders who hailed from Germany. Work then progressed slowly towards the front.
It wasn't until the nineteenth century before the Duomo's most imposing element, the front facade facing Piazza del Duomo, was completed. The five bronze doorways also look a lot older than they actually are. The central one is the oldest and was created in the nineteenth century by Ludovico Pogliaghi. The other doors were created in the mid-twentieth century; the fifth doorway is the most recent, and was created as recent as in 1965. The panels on the doors depict episodes in the lives of the virgin Mary, Saint Ambrose (patron of Milan) and Saint Charles Borromeo as well as scenes from the history of Milan and the construction of the cathedral.
The Duomo is decorated with an amazing number of beautifully sculpted statues and spires. There are more statues on this building than any other in the world, 3159 in total. 2245 of these are on the exterior together with 96 gargoyles and 135 spires. It is said that if the statues were placed on top of each other, they would reach a height of about 5300 meters (3.3 mi).
The most famous of all these is the Madonnina (Little Madonna), a copper statue of the virgin Mary covered with 3900 pieces of gold leaf. It was cast in 1774 by goldsmith Giuseppe Bini and sculptor Giuseppe Perego. The statue, four meters and sixteen centimeters tall (almost 14 ft), was placed on top of the cathedral's tallest spire and until 1959 marked the highest point in the city at 108.5 meters.
The inside of Milan's Cathedral is expansive but rather dark. There are five large naves divided by fifty-two pillars - one for each week of the year - that support the cross vaulted ceiling.
Of particular note inside the cathedral are a number of architectural pieces and works of art including a statue of St. Bartholomew by Marco d'Agrate. There are three wonderful altars designed by Pellegrino Pellegrini, all of which include some excellent art such as the renowned Visit of St. Peter to St. Agatha Jailed by Federico Zuccari. Other masterpieces include the Renaissance marble altar in the right transept and the Trivulzio Candelabrum, the base of which was crafted in the twelfth century and features imaginary animals, vegetables, and vines. Also notable is a spot above the apse that is marked with a red light bulb. This is supposedly the spot where one of the nails used in Jesus's crucifixion was placed.
After exploring the inside, visitors can pay a small fee to take a fascinating trip to the Duomo's roof via steps or elevator. It's amazing to walk among the forest of spires and the view from the roof is unmatched. On a clear day you can see as far as the Alps and Apennines. The roof is quite safe and should pose no problems even for those afraid of heights.