VisitaMilano

 Chiaravalle Abbey
The founder of the Abbey was Bernard of Clairvaux (1135), who transformed the marshy land donated to him by the Municipality into a prayer and work centre, which later became a flourishing farming centre. The Bergognone Cistercian model (Latin cross layout, rectangular choir and transept with chapel) adopted for the church (1150-1160 - consecrated in 1221) is mediated by Lombard applications (the use of fired brick, interior round arches on low cylindrical base pillars). The progressive abandonment of the essentialism imposed by Saint Bernard is evident in the imposing Campanaria tower (1347-49 which is perhaps the work of Pecorari) and the rich series of fourteenth century paintings. The frescoes by Bernardino Luini and the brothers Giovanni Battista and Giovanni Mauro Della Rovere, date back to the 16th-17th centuries, while the portico is added during the first half of the 17th century. In 1798 decadence and abandonment came about. Only in 1894 the restoration work is said to have commenced, it continued immediately after the return of the Cistercians (1952).

 Mirasole Abbey
Founded during the first half of the 1200's, the Mirasole complex is among the most artistically and culturally interesting sites within the territory of Milan. The complex, which is quadrangular in shape, is one of the best preserved examples of a medieval farmhouse courtyard, the style of which will be an inspiration for the structure of the Lombard farmstead of the modern age. The buildings were surrounded by a ditch and defended by a tower originally fitted with a draw-bridge, two entrances, one from the city, the other one from the fields, led into the courtyard surrounded by stables, houses and workshops for working wool. Alongside the courtyard there is the cloister, onto which the refectory, the kitchens, the capitular room and the sacristy look, it is porticoed on four sides on the ground floor, on two sides on the first floor it has a loggia which acted as a dormitory and granary. Like the cloister, the church is also dedicated to St. Mary, it dates back to the period between the end of the 14th and the beginning of the 15th century. The interior is covered with wooden lacunars and the choir houses a fresco depicting the Assumption of Mary, the work of an anonymous artist working around 1460, but still owing a lot to the manners of Michelino da Besozzo.

 Morimondo Abbey
The Abbey of Morimondo was founded in 1134 by the Cistercian monks originating from the French Abbey of Morimond, to the north of Dijon.From its earliest decades, the monastery became - like others in Bassa - a promotional centre for agricultural colonisation and reclamation, accumulating significant possessions. Up until mid 1400, however, Morimondo began to lose importance and in 1799, under Napoleon, the Abbey was abolished.Only in 1952 it began to inhabited by monks once again.Two arches stand in the beautiful square, dominated by a side of the abbey church dedicated to Santa Maria Nascente, built between 1182 and 1292. The layout is basilican, with three naves, with vaults upheld by round arches that rest on cylindrical pillars.On the cross there is a small octagonal crossing tower.Among with works of art on the inside, the most noteworthy items are the fourteenth century holy water font at the first pillar, the Madonna with Child and the Saints Benedict and Bernard at the fourth bay which are the work of Bernardino Luini (a torn fresco:not originally painted here) and above all the wooden choir, with 70 walnut inlaid stalls created by Francesco Giramo from Abbiategrasso some time before 1522.Only one wing of the cloister, which was rebuilt between 1400 and 1500 is original.The two nave capitular room still has the Cistercian forms.

 Viboldone Abbey
Founded by the Umiliati in 1176 it is currently inhabited by a community of Benedictine monks, dedicated to the restoration of codexes and ancient books. The church is dedicated to Saint Peter, although it is in good condition, it is the only authentic remnant of the ancient complex which was partially rebuilt after the Second World War by Luigi Caccia Dominioni. Once we have crossed the threshold of the wooden doorway which characterises the brick facade with Campionese style marble décor, the interior, which is divided up into three naves articulated by large circular clay pillars, is surprising due to the preciousness and beauty of the frescoes that upholster it almost entirely, they are believed to be among the most important and the most beautiful created in northern Italy in 1300 and with an evident Giottoesque influence.