VisitaMilano

 Archives of St. Ambrogio's Basilica
1,200 parchments from the 4th to the 13th century, Korans and texts, works and studies on S. Ambrogio.

 Basilica di Santo Stefano
The facade of the church is surprising: the first impression is that of non finality: brick facing, incomplete niches, ruggedness pending finishing. This is its characteristic which has by now been accepted. In actual fact, the basilica is sanctioned by the Superindendancy for environmental and architectural assets as a "historicized" church. It imposes itself for the richness of its architectonic details: wide volumes, classic views, dome, windows, paintings, friezes, symbols that complete, decorate and give a sense of vivaciousness to the walls, to the vaults, to the apse and to the minor altars. The interior is in the shape of a Latin cross with three naves. The large main altar in the apse dominates the view. In the transept on the right there is the Chapel of St. Clement, in which the saint's body is housed, it was found in Rome, in the catacombs of St. Callisto. The other chapel, a continuous destination for the people of Sesto, is the Chapel of the Mournful Mary.

 Basilica of S. Maria Nuova
This is one of the most significant historical-artistic sites in Abbiategrasso, founded in 1365 according to the wishes of the School of the Blessed Virgin. In 1388 it was dedicated to Maria Nascente - like the Cathedral in Milan - as a sign of homage to the birth of Giovanni Maria Visconti, the son of Gian Galeazzo. The church is known for its irregular renaissance portico, which is decorated with terracotta and busts. The pronaos on the facade is even more noteworthy, its aim is to protect a fresco of Our Lady transported here at the end of the 1500's. From 1700 the design of the pronaos is said to be by Donato Bramante, as his last work of art in Northern Italy prior to dedicating himself to St. Peter's in Rome, it is on the other hand an intervention carried out between 1595 and 1602 by the Roman architect Tolomeo Rinaldi. On the interior, there are 19th century frescos by Giovanni Valtorta, the remains of 15th century frescoes and the noteworthy altarpiece with Our Lady giving the cord to Saint Francis, which was ordered from Giovanni Crespi, known as "il Cerano", one of the most important Lombard painters between 1500 and 1600.

 Basilica of Saint Calimero
The ancient origins of the basilica, erected in the Early Christian times in a cemetery area far from the centre, is remembered thanks to some tombstones (pagan and Christian) to this day still walled onto the right hand side of the church. The outside of the apse with typically Ambrose arched cornice, dates back to the Romanesque restoration (XI-XII century). After the complete transformation carried out by Richini in 1609, the present day facade in terracotta is the restoration work of architect Angelo Colla (1882-84). The crypt dates back to at least the VIII century and was restored in the Sixteen century.

 Basilica of San Giorgio
The eighteenth century parish church, which was built on the basis of drawings by Francesco Maria Richini, has a neo-classical main altar by Leopold Pollack and canvases by Francesco Nuvolose and Pietro Gilardi (painting of the Immaculate conception, dated 1717). Built between 1606 and 1625, during the first half of the 1800's the facade was reconstructed in the neo-classical forms. On the interior there are frescoes dating from the 1600's by Morazzone (chapel of Madonna del Carmelo).

 Basilica of San Lorenzo Maggiore
The Basilica is an important example of Roman and early-Christian architecture. It is fonted by sixteen Corinthian columns and by a coutyard with a bronze copy of the statue of Emperor Costantine in the centre. The basilica was built at the end of the 4th century, but through the years part of it collapsed. It was restored in 1911, 1916, and 1937-38, and can now be appreciated as a mainly early-Christian construction, with Romanesque and late fifteenth century additions. The grand dome, the largest in Milan, was built in 1619.

 Basilica of San Magno
A pearl of the Renaissance, the basilica was built with the contribution of the Lampugnani and Vismara families from Legnano. Inspired by the work of Bramante, at the exterior is shaped like a Greek cross but inside the atrium opens onto a octagonal area with deep chapels. Elegant monochrome candelabras stand out against the brilliant blue background on the corner walls that continue over the octagonal vaults, covered with the 1515 frescoes by Gian Giacomo Lampugnani.

 Basilica of San Simpliciano
The basilica was one of the first churches to be erected in Milan. It was Saint Ambrose who commissioned it (4th century) and it was then completed under his successor Saint Simpliciano, who was buried there. During the year 398, the basilica also welcomed the relics of three martyrs: Sisinio, Martirio and Alessandro. From the 4th century a.d. to date, the structures of the church were subject to many transformations, the most significant ones of which are those of the 7th and 11th centuries. On the inside, in the basin of the apse, is the large Coronation of Mary, a fresco by Bergognone. The church is associated with the memory of the battle of Legnano: the windows on the facade illustrate the "Glories of the Carroccio".

 Basilica of San Vittore al Corpo
The primitive basilica, which perhaps dates back to the 4th century, is already replaced in the 8th century by a larger construction to transfer the corpses of the Saints Victor and Satyrus there from San Vittore in Ciel D'Oro. After the year one thousand, a Benedictine Monestary was built alongside the basilica and both were fully restored during the 16th century by the Olivetans. The current appearance of the church is owing to a design by Vincenzo Seregni from 1533 and so to Pellegrino Tibaldi, the supervisor of the building site from 1568. The interior still has the sixteenth century look in tact.

 Basilica of Sant'Ambrogio
The current building was erected on the perimeter of the previous Basilica Martyrum, built at the end of the 4th century by Saint Ambrose, the patron saint of the city, an important reformer and defender of the Church. The reconstruction of the church commenced at the end of the 9th century, a date to which the right hand pre-Romanic style bell tower, referred to as the Monks bell-tower, dates back. The apsidal part dates back to the mid 10th century, while the body of the church was created at the end of the 11th and 12th century, in Romanic forms. The church is preceded by a wide four-sided portico and it represents one of the most important examples of Romanic architecture in Italy and in Europe. On the left hand side of the facade is the Canonici bell-tower which originates from the end of the 11th century. Among the works of art housed inside it, the famous golden altar is worth mentioning, it was created during the 9th century by Volvinio and other master goldsmiths. It is a case entirely upholstered in sheets of gold and silver with enamelled cornices and mounted stones. Underneath the presbytery you can visit the crypt which houses the bodies of Saints Ambrose, Protaso and Gervaso. In the chapel of S. Vittore in Ciel d'Oro, which was built during the 4th century and decorated with a mosaic, there is the oldest and most realistic image of St. Ambrose. Alongside the Basilica is the Museum of St. Ambrose. On the left hand side of the church you can see the two sides of the portico of the rectory, designed by Bramante before 1492 and left unfinished in 1499 due to the fall of Ludovico il Moro, the Duke of Milan and commissioner of the work of art. Behind the basilica is the large monastic complex with its two cloisters designed in 1498 by Bramante, now the headquarters of the Catholic University.

 Basilica of Sant'Eustorgio
It was founded between the year 315 and 331 in accordance with the wishes of the bishop Eustorgio to house the relics of the Kings of Constantinople, which had been brought there in 1164 by Barbarossa. Only in 1903 they returned in part to the church , where they are currently housed in an urn located in the Chapel of the Kings. Along the right hand side of the church, which assumed its Romanic appearance beginning from the 11th century, some chapels were opened, among which Portinari Chapel, which was erected by Pigello Portinari, the attorney of Banco dei Medici in Milan, both as his own noble chapel and to house the relics there with the head of Saint Peter the martyr. Consisting of two square shaped rooms, covered by domes with a typically Lombardian polychrome decoration, it is one of the most noteworthy works of Lombardian Renaissance art. In the upper section you can visit the important collection of frescos (Vincenzo Foppa and Giovanni Balduccio). The majestic fourteenth century bell tower is also noteworthy.

 Basilica of Santi Apostoli e Nazaro
The Basilica of San Nazaro, the most important testimony of Paleochristian art, plays a significant role as a site of devotion and adoration of the apostles' relics. Built at the will of Bishop Ambrogio, it was already constructed in the year 386 with its characteristic Latin cross shape and a rectangular 56-metre long nave. Where its axes meet stands the Chapel of San Nazaro, made of silver with a few golden traces, which contains the reliquary of Manlia Dedalia and the relics of the apostles John, Andrew and John. In 1075, San Nazaro was rebuilt, after a fire, in Romanesque shapes. The basilica's façade, which stands proudly in the square of the same name, opposite the road leading to Porta Romana, is covered with the Trivulzio Mausoleum (Gian Giacomo Trivulzio was a famous political leader involved in the quarrels over the lands of the seigniory of Milan), which was designed by Bramantino with an octagonal shape in 1512. Founded during the 4th Century, with the original name of Basilica Apostolorum, i.e. of the apostles, it was rechristened in the year 396 with its current name, in honour of its founder, Saint Nazareth. Only a few visible remains of it remain today, in the walls, the floor and the bases supporting the cupola base, dating back to the Paleochristian era.

 Basilica of the Assumption
Situated in the higher part of the town, it was erected in 1936 on the basis of drawings by Giuseppe Maggi, with the artistic consultation of Carlo Bonomi. The terracing from which we can see a beautiful view over the surroundings is quite interesting, within our view we can see the soaring profile of the chimneys of the local electrical power station.

 Cathedral - Baptisteries
On the inside of the Cathedral, once you have crossed the main threshold, you can go down underneath the parvis, where the remains of the Bapistry of San Giovanni alle Fonti are to be found, these are also called of Sant'Ambrogio, the necessary completion of the Basilica of Santa Tecla, which has now disappeared. On the 24th of April 387, in this Bapistry, Ambrose baptised St. Augustine. The octagonal building was inspired by the typical Roman mausoleum. In the "antiquarium" we can admire thousands of polychrome tesseras which decorated its vault as well as elements of the wall decoration.

 Cathedral - Terraces
The roof of the Cathedral is a destination for special walks amidst the spires and offers suggestive views over the city.