“Gloriose sacris micat ornata Ecclesiis
Ex quibus alma est Laurenti....”
In the Via Ticinese, just within the twelfth century boundary of the city, there stands a magnificent row of Corinthian columns, the only vestige1 above ground, in its original position, of the imperial Milan, whose splendours were sung by Ausonius. The Roman building of which they formed probably the peristyle, has long vanished, but the place where it must have stood is now occupied by San Lorenzo, the most ancient existing church in Milan, though much restored and altered, especially in the sixteenth century. The large impressive interior, octagonal in form, and surrounded by a wide ambulatory with a gallery above, which opens into the body of the church through four double storied arcades3, recalls the style of San Vitale at Ravenna. Recent studies favour the theory that it was built in this form, as a church, in the sixth century, rather than the old idea that it was originally the great hall of Maximian’s Baths, and was converted to a Christian4 temple by St. Ambrose. However that may be, its form carries us back to a time which no other building in Milan commemorates5, when the Roman Empire still lived, and the Church had but lately issued from its martyr6 struggles, and was still linked in its architecture with the old world.
San Lorenzo has unfortunately preserved none of those splendours celebrated7 by historian and poet in 279the eighth century. Arnolfo the chronicler weeps over the destruction of its roofs of mosaic8 and gold and starry9 gems10, its paintings and sculptured marbles, in the calamitous11 fire of 1071. Oh Temple, which had not your like in the world, he cries. Restored after the fire, it was again grievously damaged by fire in 1124, and again restored. The fall of a great part of the roof in 1573 gave Cardinal12 Borromeo and his favourite Pellegrini an opportunity for interference. Pellegrini was succeeded in the work of restoration by his pupil, Martino Bassi. The result of their labours was the present lofty cupola, supported on great pilasters between the openings into the ambulatory, and the heavy architectural decoration of neo-classic style, which impose upon the old building, bare now of the rich and glowing colour of its original design, a cold, austere13 and melancholy14 character.
Fragments of antique capitals used upside down as bases of columns here and there, some columns of African marble in the chapel15 of St. Ippolito behind the High Altar, and a beautiful marble doorway17 with decoration of pagan character in low relief, at the entrance to the chapel of St. Aquilino, show that the church is partly composed out of the wreckage18 of the Roman city. The chapel last named, which opens off the ambulatory on the south, is of the sixth century, and has kept its ancient form. It is octagonal like the church, and is roofed with a shallow cupola. The circle of deep apertures19 high up, by which it is lighted, form outside those round-headed niches21 so familiar in later Lombard buildings. The Empress Galla Placidia is supposed to have founded this chapel, and to have intended to be buried there. A Christian sarcophagus, of late Roman workmanship, stands in a niche20 on the right hand of the entrance. But Galla Placidia lies in her gorgeous mausoleum at Ravenna. This sepulchre 280is said, however, to enclose the remains22 of her first husband, Athanulph, King of the Goths. Some mosaics23 in lunettes on either side of the apse date from the early days of the chapel—Christ with the Apostles, and the Shepherds feeding their Flocks. The sixteenth century tomb of St. Aquilino occupies the apse, which is decorated with frescoes25 of the Luinesque school.
There is little else of interest in the church. In the ambulatory is a tomb of 1411, and above it a much restored painting of Madonna with SS. Stephen and Ambrose presenting to her members of the Robbiano family, and in the chapel of St. Ippolito, a tomb with the effigy26 of Antonio Conte, a priest of the church, who died in 1349, and the late fifteenth century monument of another of the same family, Giovanni Conte, who restored the chapel.
The fa?ade is of ornate late classic style, and the unfinished building on either side of the court in front was designed by Ricchini, a seventeenth century architect. An interesting view of the exterior27, from the Piazza28 Vetra, on the north-east side, shows the enormous dome29 rising with incongruous effect, above the brick mass of the building, between four low towers of Lombard style, which survive from the eleventh or twelfth century reconstruction30 of the church after the great fires.
The archway and towers in the main street just beyond San Lorenzo represent the old Porta Ticinese, built by the Milanese consuls31 in 1171, and restored by Azzo Visconte in the fourteenth century. The structure was newly restored in 1858. Upon the outer side of the arch there is a sculpture of Madonna enthroned with the Child, and St. Ambrose presenting to her a model of the city, with SS. Lorenzo, Eustorgio and Peter Martyr, standing32 around. Similar groups, now in the Museo Archeologico, were placed upon Porta Romana and Porta Orientale by Azzo. They are 281the work apparently33 of the Campionese followers34 of Giovanni di Balduccio of Pisa.
THE OLD PORTA TICINESE.
283The Porta Ticinese corresponds to the original gate of the same name in the old circuit of the Roman walls, which stood nearer into the centre of the city at a spot now called Carobbio, a corruption35 of Quadrivium, the Four Ways. The modern gate is some little distance further south. This is the way out of the city to Pavia, the ancient Ticinum, hence the name Via Ticinese. Throughout the Middle Ages, from the time when Pavia was a royal seat, this street was the scene of all the state entries of conquering kings, or princely visitors. Barbarossa came this way, passing in majesty36 over the flattened37 earthworks and prone38 gates of the humiliated39 city. Three centuries later, the victorious40 soldier of fortune, Francesco Sforza, made his state entry by Porta Ticinese, appearing with his wife, Bianca Maria, and his young son, Galeazzo, upon a triumphal car beneath a canopy41 of cloth of gold, followed by the captains and chosen men of his army. Less than fifty years after, the destroyer of the brief Sforza domination, Louis XII., passed up in unparalleled splendour, wearing the ducal cap of Milan, having been presented by the Constable42 of the Gate with the keys of Porta Ticinese on the bridge over the canal immediately outside. He was preceded by all the clergy43 in pontifical44 array, and by a gorgeous procession of pages, musicians, men-at-arms, and courtiers. Immediately before him rode Gian Giacomo Trivulzio, the golden staff of a Marshal of France in his hand, and in the throng46 of cardinals47 and ambassadors who followed, the most conspicuous48 was that warlike ecclesiastic49, known then as S. Pietro in Vincula, who, as Julius II., a few years later became the scourge50 of the French intruders. So is the shame of Milan and of Italy written on the stones of that street.
284Just beyond the gate the street crosses the canal—the Naviglio it is called—which follows the medi?val circumference51 of the city, on the line of the great fosse dug by the Milanese as a defence against Barbarossa. It is the central mesh52 as it were of the network of waterways connecting Milan with Pavia and the other cities of the Lombard Plain. The narrow streak53 of water, with picturesque54 backs of houses descending55 into it, and women in bright coloured skirts and gay kerchiefs on their heads, washing by the edge, is a pleasant interruption to the crowded, rather squalid street.
HOUSES ON THE NAVIGLIO.
Further on, beside the modern gate, is the old basilica of St. Eustorgio, once famous as the resting-place of the Three Kings, and later as the shrine56 of St. Peter Martyr. Tradition declares that the basilica was built by the Milanese bishop57, St. Eustorgio, in the fourth century, on the site of an ancient font used by St. Barnabas himself to baptise his converts. The primitive58 church, whatever its date, was replaced later by a Romanesque building, which exists in the main to this day, though with many alterations59 and modifications60 made by successive generations 285of devotees. Recent restorations have cleared away the disfigurements which it suffered in the baroque period.
The exterior gives a striking record of the phases through which the church has passed. The fa?ade is in the characteristic style of the thirteenth century, but dates only from 1865. The south flank, which was restored at the same time, is of the fourteenth century, when the Visconti, Torriani and other great families, eager to show their devotion to the church where the recent martyr Peter of Verona was buried, built a series of sepulchral61 chapels62 on this side. With its slender pointed63 windows, and oculi deeply set within a rich framework of multiplied mouldings, its gables and characteristic ornamentation of interlaced archetti beneath the eaves, it is a very graceful65 example of the Gothic brick building of North Italy. A chapel projecting at the western end belongs to the fifteenth century, and was built by Pietro Solari. The apse of the church, with its deep-niched arcade2, carries us back again to the Romanesque period. Beside it rises, in accordant style, the Campanile, which was begun in 1297, and beyond, at the east end of the church, is a beautiful chapel, built nearly two centuries later—in 1462—for Pigello Portinari by a Tuscan architect, probably Michele Michelozzo. The tall brick Campanile, soaring in its direct simplicity66 and strength, each storey marked by a line of graceful archetti and of bricks set pointwise above them, making a sort of dogtooth ornamentation, and its angles faced with white stone, contrasts in an interesting manner with the proud little building below. The Portinari chapel shows the new development of brick architecture in obedience67 to the classic ideas of the Renaissance68. The rotund cupola swelling69 upon the broad square base, the elaborate yet harmonious70 combination of curves and rectangles, 286the restrained decoration of moulded pilasters and flat-carved capitals, of rich terra-cotta cornices and deep-moulded oculi, the skilful71 arrangement of colour in the distribution of stucco and brick, all reveal new thoughts, new ideals, new knowledge, a sort of human pride undreamed of by the faithful souls of the earlier generation, who thought only of glorifying72 God and lifting their building as near to Heaven as they could.
EXTERIOR OF PORTINARI CHAPEL, ST. EUSTORGIO.
287The interior of the basilica, though the tribune and part of the side aisles73 are said to be late ninth century, is in the main of the twelfth or early thirteenth century. It has lofty semicircular arches, showing here and there the slightest inclination74 to a point; cross-vaulting75, compound pillars, and at the lower end women’s galleries, or rather a restored semblance76 of them—all Romanesque features. The capitals are sculptured in the style of the same period, with strange animals and grotesques77. The large and noble architectural form, combined with the harmonious colour of the faded red brick and pallid78 stone, makes a very beautiful and impressive effect, which is enhanced by the dim light crossed by misty79 shafts80 of sunlight, and lost in deep shadows beyond, and by the silence, the spaciousness81, the sharp note of voiceless prayer that rises up from a little group of shawled figures bowed before some altar, or from a solitary82 figure suppliant83 at the foot of a pillar. The very incongruities84 in the building and in the ornamentation add to the interest. Here are fragments of old fresco24 peeling from pillar and vaulted85 roof; there newly restored gaudy86 figures; everywhere the past and the present joining in one living whole. You feel here the continuity of religious fervour, of Christian love and faith, through all the changes of thought and taste during eight centuries.
288
INTERIOR OF ST. EUSTORGIO.
The institution of a convent of Dominicans for the service of the church in 1227, and the burial here of their famous prior, Peter of Verona, murdered by heretics in 1252, drew the attention of the pious87 to St. Eustorgio just when art was showing a new vitality88. The church still contains a number of sculptured monuments of Milanese nobles, who were buried here in the chapels which they built in the centuries immediately following. These are of great interest to the student of Lombard art. The first chapel on the right at the bottom of the church was not built till 1484, and the tomb within it is of the Renaissance period, and is the work of the Cazzaniga and of Benedetto Briosco. The tomb of a young fifteenth century knight89, Pietro Torelli, who died in battle at the age of eighteen, is in the next chapel. His effigy lies on the top, and the Madonna and Child, with various saints, are sculptured on the front, perhaps by Jacopo da Tradate.[12] The canopy is later and inferior work. A chapel farther up has
12. Mongeri, L’Arte in Milano.
289ruined fourteenth century frescoes in the vaulting, representing apparently the four Doctors of the Church in grand canopied90 seats. The next contains the rich Gothic tomb of Stefano Visconte, son of the great Matteo and father of Bernabò and Galeazzo. The monument dates from the middle of the fourteenth century. Upon the front is a bas-relief of Madonna and Child, with the kneeling figures of Stefano and his wife, Valentina Doria, the one being presented by his name-saint, St. Stephen, behind whom stand Peter Martyr and Peter the Apostle, the other by St. John Baptist, with St. John the Evangelist and St. Paul behind. Beneath the cusped arch of the canopy is Madonna again, a stately maternal91 type, smiling as she holds a fruit above the Child, as if playing with His eagerness to seize it—a motive92 more graceful and natural than is usual in the rather stiff and heavy compositions of the Lombard masters of that period. The dignity and naturalism of this sculpture altogether shows the hand of one of the most successful followers of the Pisan Giovanni di Balduccio.
The monument in the next chapel is to Gaspare Visconte, of a collateral93 branch of the reigning94 House, who had been sent on embassies to England and was a Knight of the Garter. It resembles Stefano’s in design, but the bas-reliefs are later and inferior work. Opposite is the recumbent statue, torn from its right place and set up against the wall, of Gaspare’s wife, Agnese Besozzi (died 1417), with her sons at her feet. Above this stone is a sarcophagus, with a bas-relief of the Coronation of the Virgin95, with angels and saints and devotees, also by some scholar of Giovanni di Balduccio. The Snake emblazoned on it shows that it commemorates some of the Visconte family, probably one Uberto and his son Giovanni, with their respective wives. The last chapel on this side is said to have been dedicated96 290by Martino della Torre to his name-saint of Tours. No trace of the great Guelf House remains in it. It seems to have been usurped97 by their conquerors98, the Visconti, whose Snake appears in the fifteenth century frescoes—much damaged by the whitewash99 which once covered them—upon the vaulted roof. In these, which represent the Evangelic Beasts and various saints, there appears on the left a woman’s figure carrying a shield with the letters ‘B. M.’ and a crown upon it, in homage100, it would seem, to the Duchess Bianca Maria Visconte Sforza.
The arch of the east wall in the arm of the church is covered with a large faded fresco of the Adoration101 of the Magi, attributed by some to Bramantino. In the Chapel of the Magi below a massive and quite unadorned sarcophagus purports102 to be the tomb where the bodies of the Three Kings reposed103. They had been brought hither, according to tradition, by home-returning crusaders, and here they lay, worshipped and plied64 with rich offerings by faithful pilgrims from all parts of Christendom, until 1164, when they were carried off by Barbarossa’s chancellor104, the Archbishop of Cologne, as some of the most precious spoils of the conquered city. The old story of the Wise Men is sculptured over the altar by Gio. di Balduccio, or more probably by one of his scholars. It is a crowded composition, in which the vivacity105 and movement of the short thick figures show the growing tendency towards realism still restrained by classic traditions.
On the wall opposite this chapel is the fourteenth century tomb of Protaso Caimi, a noble Milanese knight; it is decorated with the familiar composition of the occupant kneeling before Madonna, with saints in attendance, among whom may be noticed Sta. Martina, holding her lion across her by its fore45 and hind16 legs. A coloured and gilded106 statue of St. 291Eugenius, of rigid107 archaic108 style, but probably not earlier than the end of the thirteenth century, stands also in this part of the church.
The richly sculptured altarpiece of the High Altar still shows the Pisan influence. But it belongs to the end of the fourteenth century, when it was presented to the church by Gian Galeazzo Visconte, and shows in the attitudes and draperies and long slender forms a new delicacy109 of workmanship and a new search for sentiment and grace, notably110 in the Madonna with head turned and throat stretched, standing beside the cross, and the grieving St. John on the other side. The upper part, with the stucco statues, is a seventeenth century restoration.
Passing behind the High Altar, through the crypt or under choir111, which was built in 1537 and is supported on columns once forming part of the cloister112 of the adjoining convent, and through a vestibule with remains of old frescoes on the walls, we come to the Capella di S. Pietro Martire—the Portinari Chapel—the exterior of which has been already described. In this rich and complex structure, rectangular below and rising by the grand curves of wide-spanned arches to a lofty sixteen-sided cupola, in the delicate arcade and parapet running round it high up, in the beautiful terra-cotta decoration of frieze113 and cornices, the sculptured arabesques114 of the pilasters, the frescoes in spandril and arch, we recognise the new spirit of the Renaissance. The architecture is of Tuscan inspiration, though certain details, such as the point still visible in the rather ornate windows, are indicative of Lombard taste. The chapel, which in form recalls the Pazzi Chapel in Florence—though it lacks the perfect purity and restraint of that wonderful building—is always supposed, though without any positive evidence, to be by Brunelleschi’s pupil, Michelozzo. The general 292design may be regarded as certainly Michelozzo’s, and much also of the ornamentation, especially the charming stucco frieze of dancing angels, light graceful forms instinct with winged motion and linked by a long chain from which depend great bells of fruit and foliage115. The same great bells or tassels116 with fat putti swinging on them, compose the delightful117 arabesques on the pilasters. To Vincenzo Foppa, chief of the early Milanese school of painters, was entrusted118 the fresco decoration of the chapel. The four Fathers of the Church, in tondi in the spandrils, figures of a robust119 and quiet realism, full of a naturally-expressed dignity and fresh and decorative120 in colour, are some of his finest work. The other frescoes, four large scenes representing scenes from the life of Peter Martyr—the Saint preaching at Florence; confounding a false miracle-worker at the altar; tending a youth who has fallen from the top of a building and whom he has miraculously121 saved from death; and being stabbed to death by heretics—are Foppa’s design and in part his work, but they have been much restored, and in their present state are hardly worthy122 of him.
The monument of Peter Martyr occupies the middle of the chapel, which was built to enshrine his head only, and not this huge Trecento tomb containing the rest of his body, which was moved here in the seventeenth century from its place in the church and is a superfluous123 and cumbersome124 feature, quite out of keeping with the finished little Renaissance building. In itself the tomb is a very fine and important work, the masterpiece of Giovanni di Balduccio—though in parts the help of his scholars is visible—the model in thought and style for the monumental sculptors125 of the Trecento in Milan. The name of the sculptor126 and the date, 1239, are inscribed127 upon it. The sarcophagus is decorated with bas-reliefs narrative128 of the Saint’s 293career, crowded and vivacious129 compositions, in all of which except that of the healing of the dumb boy an inferior hand has been traced.[13] Figures of the Virtues130, stately and classic in type though characteristically thick and short, stand against the pilasters, each with feet planted on some symbolic131 creature. The different orders of angels are represented by figures on the top of the sarcophagus, and the pyramidal cover is decorated with more bas-reliefs—a king and queen kneeling, a bishop, friars and devotees, the Saint crowned by angels and blessing132 the people of Milan. The monument is completed by a beautiful Gothic canopy with Madonna enthroned between St. Dominic and St. Peter Martyr.
13. Ventura, Storia dell’ Arte, vol. 4, p. 562.
S. Vincenzo in Prato, to the west of San Lorenzo, is a beautiful example of early Romanesque. Built by Abbot Gisilberto in 833, it was restored after 1000, and after undergoing the usual transformations133 of the baroque period it was reduced quite recently to its old Lombard form of three aisles ending in three apses, the principal apse containing the sanctuary134 being raised above a deep crypt. The brick exterior, with the row of deep niches round the apse and the ornamental135 archetti beneath the roof, is very picturesque and characteristic.
Another interesting building of the end of the tenth century is the abandoned fragment of the old Church of S. Celso, which gives its name to the great adjacent temple of Sta. Maria di S. Celso. The principal part of the old basilica was pulled down in 1818 to give light and air to its overgrown neighbour, and there is little more than the apse now left, and some interesting capitals of Romanesque style inside and outside the building. The fine old doorway has fortunately escaped destruction, and has been embodied136 in a new fa?ade, 294built in 1851. Upon the architrave is a rude bas-relief depicting137 the story of San Celso and his companion, San Nazaro, who were martyred in the Field of the Three Mulberry Trees, the very spot where the church stands. The decaying wooden doors and the Madonna and saints at the top are of the fifteenth century.
S. Calimero, to the north-east, is also Romanesque. S. Nazaro, close to the last, one of the oldest foundations, standing in the days of St. Ambrose, rebuilt in later centuries and again completely transformed by Cardinal Borromeo, has preserved some Romanesque features in its exterior. Within there are some old stained-glass windows of German workmanship. A very precious silver coffer, with beautiful reliefs of late Roman workmanship, is also kept here. Attached to the church is a sepulchral chapel, built for Gian Giacomo Trivulzio by Francesco da Briosco in 1518. The tombs of the great Marshal and of members of his family, with their recumbent figures carved upon them by sixteenth century sculptors, may be seen in it.
S. Giovanni alla Conca, also a very ancient church and much favoured by Bernabò Visconti, has a fine thirteenth century fa?ade, restored.
A very ancient church, said to have been the first built in Milan, on the site of a temple to the Sun, is the little S. Babila, just opposite the Column with the Lion, which marks the place of the old Porta Orientale at the beginning of Corso Venezia. As seen now S. Babila is a complete restoration, very scientifically accomplished138 in the last few years, and presents within and without a very perfect model of a Lombard church of the early centuries after the 1000.
Most of these early Milanese buildings have indeed to be accepted on the faith of the modern restorer, but for whom these interesting churches would still be vested in the hideous139 baroque disfigurements of the 295seventeenth and eighteenth centuries. S. Sepolcro, close to the Biblioteca Ambrosiana, is one of these. The towers, the crypt—studied with much interest by Leonardo da Vinci—and the exterior of the apse alone remained of the eleventh or twelfth century church, and these have been lately restored and a new fa?ade built in appropriate style to replace the Borromean substitute for the original. The interior is quite spoilt. In the sacristy there is a Nativity by Gianpietrino, a characteristic work, with some infants of attractively soft contours, but curiously140 brown flesh colour in the foreground. Sta. Maria a Beltrade, off Via Torino on the west side, is of very ancient origin, but has nothing of interest left except a twelfth century bas-relief of rudest and most childish style upon the wall outside, representing the old Candlemas procession in which an image of Madonna was carried from this church to the Cathedral, a Christian substitute for the Pagan ceremony in honour of Cybele.
Another ancient Milanese sanctuary, the Chapel of S. Satiro, built in 879, was restored in the Renaissance period, and incorporated with the Church of Sta. Maria presso S. Satiro.[14]
14. See Chapter XIII.
S. Simpliciano, in the north of the city, has preserved three beautiful doorways141 of the Romanesque period, enriched with sculptured marble columns and roll mouldings. The eleventh century interior was enlarged in the late fifteenth century, and transformed in later restorations. Its chief interest now is the great fresco in the apse—the Coronation of the Virgin—an imposing142 composition by Borgognone in his advanced years, rich and decorative in colour, and remarkable143 for Quattrocento simplicity of treatment and feeling at a time when the great Cinquecentists had already revolutionised artistic144 ideals.
296To the east of S. Simpliciano, close to the Palazzo di Brera, stands S. Marco, which in the exterior of the transepts alone shows traces of its original thirteenth century form. The beautiful pointed door, with the statues in Gothic niches above, was built more than a century later. The rest of the fa?ade is modern, and the whole exterior wears a vesture of new red brick. The campanile, with its pointed steeple and frieze of interlaced archetti, is early fourteenth century and very characteristic of the brick building of that period. The interior is baroque, but in the north transept there are some fine sepulchral monuments of Milanese nobles. They are all of the school of Giovanni di Balduccio, and the bas-reliefs upon them resemble in arrangement and style the tombs already seen in St. Eustorgio. One is to Salvarino Aliprandi, of an ancient patrician145 family in the city, who died 1344. Another commemorates Lanfranco Settala, General of the Augustinian Order and founder146 of the church, who died in 1264. His genial147 effigy is carved on the tomb, seated in his preceptor’s chair, with his devout148 and diminutive149 pupils around him. Here is also the tomb of Martino Aliprandi, a man distinguished150 for his learning and eloquence151, sent as envoy152 from Azzo Visconte to Pope John XXII. in 1332, and yet another, that of Giacomo Bossi, a knight of the Empire, who died in 1355. The monument of the Birago family, which is placed above the last, though sculptured as late as 1455 by Cristoforo dei Luvoni, shows little artistic advance on the Trecento works.
Of secular153 buildings of the Romanesque and early Gothic period hardly anything is now left in Milan. The Palazzo della Ragione, however, still stands, though disfigured in later days, on the spot which was once the Broletto Nuovo, the centre and citadel154 of civic155 life in the Republican era, a space enclosed in 297defensive walls and pierced by six gates, corresponding in direction to the principal gates of the city. The walls were built and the seat of the Podestà was transferred thither156 early in the thirteenth century from the Broletto Vecchio beside the Cathedral, a move significant of the complete liberation of the Commune from the old domination of the Archbishop. The word Broletto appears to be derived157 from brolo, signifying in Milanese a garden, the old Broletto having been once the garden of the Archbishop; but the name followed the civic offices with which it had become inseparably associated—hence Broletto Nuovo. The move was in fact a return of the chief authority in the city to its old abode158, since the Broletto Nuovo was apparently the citadel in Roman times, and the seat later on of the military governors, called Dukes, under the Lombard rulers. The name of Curia Ducis, the Court of the Duke, still survives in the name Cordusio, by which the big modern piazza close by is called.
The Palazzo della Ragione was built in 1228, with a vast open portico159 below and a great hall above, which was reached, not by a staircase in the building, but over the archway still existing at the north end. It was altered in later times, and an incongruous upper storey was added in the eighteenth century. It is now being restored. The palace stood till 1866 in the centre of a piazza—the original Broletto in fact—which was enclosed on the north side by the great Palazzo dei Giurisconsulti. The modern Via Mercanti now runs between it and the last-named palace, but on the other side it faces into the little Piazza dei Mercanti, which represents all that remains of the Broletto, and is still surrounded by old palaces. It is the one bit of medi?val Milan left, apart from single buildings. On this side of the Palazzo della 298Ragione there is a little equestrian160 statue of the Podestà Oldrado da Tresseno, with his name and the date, 1233, beneath, and some Leonine verses in which he is lauded161 in an elegant rhyme for building the upper storey of the palace and for sedulously162 performing his duty of burning heretics.
Qui solum struxit Catharos ut debuit uxit.
STATUE OF OLDRADO DA TRESSENO
The statue is by Benedetto Antelami,[15] chief of the so-called Comacine masters—predecessors of the Campionesi—and best known by his sculptures on the Cathedral and Baptistery at Parma. It is the work of his old age. It shows a feeling for nature and a power of expression immensely in advance of the twelfth century sculptors, and marks the gradual emancipation163 of thought from the strange terror and the sense of human littleness in the midst of natural and supernatural forces, which oppressed the Middle Ages. Here is a work of art in honour of one who is neither God nor saint—a new conception of man’s importance in the scheme of the Universe.
15. Venturi, Storia dell’ Arte, vol. 3, p. 340.
On the south side of the piazza is the Loggia degli Osii, built, as a scarcely legible inscription164 in the wall records, in 1316, by Matteo Visconte, who had acquired the houses of the Osii, a Milanese family, for the 299purpose. Built in and partly concealed165 in later times, the old features of this palace have been quite recently disclosed by careful restoration. The beautiful pointed arcade of the loggia rests upon a parapet decorated with the shields of the Visconti and of the different divisions of the city, and in the middle projects the ringhiera or balcony, from which official harangues166 were made and decrees proclaimed. The statues of the Virgin and various saints in the deeply-sunk niches of the storey above are of the school of Giovanni di Balduccio.
The palace on the right hand of the loggia, of heavy ornate style, replaced in the seventeenth century a much earlier building. The west side of the piazza is filled by a little palace, originally built by Azzo Visconte early in the fourteenth century for the bankers and money-changers. It is decorated with charming terra-cotta ornamentation, and has been partly restored, but it is much spoilt by modern occupation and use for business purposes.
300
PALAZZO DEI BANCHIERI
On this spot of the Broletto Nuovo all the busy excited life of medi?val Milan once swayed and surged. This was the point upon which all the different parts of the city converged167, and hither at the call of danger marched the militia168 of each division, called by the name of its gate, Porta Romana, Porta Ticinese, etc., to go forth169 again, each preceded by its gonfalon, to the defence of the respective gates and quarters. Or if the decree of the Republic were for an offensive expedition, the Caroccio would be drawn170 forth from its place in the Duomo and brought here, and the combined host, gathering171 round it, would pass out in order of battle. In the upper chamber172 of the Palazzo della Ragione public business was transacted173, and the portico below was the assembly place for the citizens for the discussion of public affairs and for amusement and sport, all that common social life, shared together by noble and plebeian174, of republican Italy in the Middle Ages. Here were brought the captured enemies of the Republic—that is, of the party in power. In some dark and secure corner of the palace there were cages inhabited by living prisoners. The chroniclers relate how Napo della Torre, to revenge his brother Paganino’s death at the hands of Milanese exiles in Vercelli, had thirteen noble prisoners carried to the Broletto and their heads smitten175 off one by one, till 301his own young son fell at his feet and vowed176 that he himself would not live if the life of the thirteenth—a certain physician who had lately cured the boy of a mortal sickness—were not spared. But the statue of Oldrado, burner of heretics, has not looked down on grim scenes only. Here many great feasts took place, such as that one which Francesco della Torre made in 1268 to celebrate the passage through Milan of Margaret of Burgundy, the bride of Charles of Anjou, when two oxen stuffed with pigs and sheep were roasted in the Broletto, and more than three thousand persons were fed; tournaments also were often held here in honour of victories and joyful177 events. We read of tumults178 too, and of the Milanese women on one occasion, when a rumour179 of new taxes had gone forth, besieging180 the palace with knives in their hands and seizing and selling all the salt, which was then as always a Government monopoly and was stored in an adjacent building.
Another monument of Milan’s republican days, and of her noble struggles for liberty in the twelfth century, is the old Porta Nuova, often called the Portone,—the massive arches at the end of the Via Manzoni. This is one of the gates built in defiance181 of Barbarossa in 1171. It was originally decorated with rude sculptures representing the return of the Milanese, after the destruction of the city in 1162, and with a figure of Barbarossa seated cross-legged on a devil; these are now in the Castello. The bas-relief with two Roman heads, still to be seen on the gate, is said to be a relic182 of the older gate corresponding to this one in the Roman walls. The old towers have been pulled down.
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1
vestige
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| n.痕迹，遗迹，残余 | |
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2
arcade
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| n.拱廊；(一侧或两侧有商店的)通道 | |
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arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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5
commemorates
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| n.纪念，庆祝( commemorate的名词复数 )v.纪念，庆祝( commemorate的第三人称单数 ) | |
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6
martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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7
celebrated
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| adj.有名的，声誉卓著的 | |
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8
mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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9
starry
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| adj.星光照耀的, 闪亮的 | |
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10
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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11
calamitous
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| adj.灾难的，悲惨的；多灾多难；惨重 | |
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12
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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13
austere
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| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
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14
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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15
chapel
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| n.小教堂，殡仪馆 | |
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16
hind
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| adj.后面的，后部的 | |
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17
doorway
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| n.门口，(喻)入门；门路，途径 | |
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18
wreckage
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| n.（失事飞机等的）残骸，破坏，毁坏 | |
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19
apertures
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| n.孔( aperture的名词复数 )；隙缝；（照相机的）光圈；孔径 | |
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20
niche
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| n.壁龛；合适的职务(环境、位置等) | |
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21
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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22
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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23
mosaics
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| n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案 | |
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24
fresco
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| n.壁画；vt.作壁画于 | |
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25
frescoes
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| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
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26
effigy
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| n.肖像 | |
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27
exterior
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| adj.外部的，外在的；表面的 | |
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28
piazza
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| n.广场；走廊 | |
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29
dome
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| n.圆屋顶，拱顶 | |
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30
reconstruction
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| n.重建，再现，复原 | |
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31
consuls
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| 领事( consul的名词复数 )； （古罗马共和国时期）执政官 （古罗马共和国及其军队的最高首长，同时共有两位，每年选举一次） | |
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32
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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33
apparently
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| adv.显然地；表面上，似乎 | |
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34
followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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35
corruption
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| n.腐败，堕落，贪污 | |
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36
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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37
flattened
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| [医]（水）平扁的，弄平的 | |
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38
prone
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| adj.(to)易于…的，很可能…的；俯卧的 | |
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39
humiliated
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| 感到羞愧的 | |
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40
victorious
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| adj.胜利的，得胜的 | |
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41
canopy
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| n.天篷，遮篷 | |
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42
constable
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| n.(英国)警察，警官 | |
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43
clergy
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| n.[总称]牧师，神职人员 | |
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44
pontifical
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| adj.自以为是的，武断的 | |
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45
fore
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| adv.在前面；adj.先前的；在前部的；n.前部 | |
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46
throng
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| n.人群，群众；v.拥挤，群集 | |
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47
cardinals
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| 红衣主教( cardinal的名词复数 )； 红衣凤头鸟（见于北美，雄鸟为鲜红色）； 基数 | |
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48
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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49
ecclesiastic
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| n.教士，基督教会；adj.神职者的，牧师的，教会的 | |
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50
scourge
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| n.灾难，祸害；v.蹂躏 | |
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51
circumference
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| n.圆周，周长，圆周线 | |
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52
mesh
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| n.网孔，网丝，陷阱；vt.以网捕捉，啮合，匹配；vi.适合； [计算机]网络 | |
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53
streak
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| n.条理，斑纹，倾向，少许，痕迹；v.加条纹，变成条纹，奔驰，快速移动 | |
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54
picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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55
descending
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| n. 下行 adj. 下降的 | |
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56
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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57
bishop
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| n.主教，（国际象棋）象 | |
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58
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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59
alterations
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| n.改动( alteration的名词复数 )；更改；变化；改变 | |
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60
modifications
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| n.缓和( modification的名词复数 )；限制；更改；改变 | |
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61
sepulchral
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| adj.坟墓的，阴深的 | |
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62
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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63
pointed
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| adj.尖的，直截了当的 | |
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64
plied
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| v.使用（工具）( ply的过去式和过去分词 )；经常供应（食物、饮料）；固定往来；经营生意 | |
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65
graceful
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| adj.优美的，优雅的；得体的 | |
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66
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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67
obedience
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| n.服从，顺从 | |
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68
renaissance
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| n.复活，复兴，文艺复兴 | |
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69
swelling
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| n.肿胀 | |
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70
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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71
skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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72
glorifying
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| 赞美( glorify的现在分词 )； 颂扬； 美化； 使光荣 | |
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73
aisles
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| n. (席位间的)通道, 侧廊 | |
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74
inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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75
vaulting
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| n.（天花板或屋顶的）拱形结构 | |
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76
semblance
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| n.外貌，外表 | |
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77
grotesques
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| n.衣着、打扮、五官等古怪，不协调的样子( grotesque的名词复数 ) | |
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78
pallid
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| adj.苍白的，呆板的 | |
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79
misty
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| adj.雾蒙蒙的，有雾的 | |
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80
shafts
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| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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81
spaciousness
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| n.宽敞 | |
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82
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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83
suppliant
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| adj.哀恳的；n.恳求者，哀求者 | |
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84
incongruities
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| n.不协调( incongruity的名词复数 )；不一致；不适合；不协调的东西 | |
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85
vaulted
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| adj.拱状的 | |
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86
gaudy
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| adj.华而不实的；俗丽的 | |
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87
pious
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| adj.虔诚的；道貌岸然的 | |
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88
vitality
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| n.活力，生命力，效力 | |
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89
knight
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| n.骑士，武士；爵士 | |
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canopied
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| adj. 遮有天篷的 | |
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91
maternal
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| adj.母亲的，母亲般的，母系的，母方的 | |
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92
motive
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| n.动机，目的；adv.发动的，运动的 | |
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93
collateral
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| adj.平行的；旁系的；n.担保品 | |
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94
reigning
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| adj.统治的，起支配作用的 | |
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95
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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96
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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97
usurped
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| 篡夺，霸占( usurp的过去式和过去分词 )； 盗用； 篡夺，篡权 | |
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98
conquerors
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| 征服者，占领者( conqueror的名词复数 ) | |
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99
whitewash
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| v.粉刷，掩饰；n.石灰水，粉刷，掩饰 | |
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100
homage
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| n.尊敬，敬意，崇敬 | |
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adoration
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| n.爱慕，崇拜 | |
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102
purports
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| v.声称是…，（装得）像是…的样子( purport的第三人称单数 ) | |
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103
reposed
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| v.将（手臂等）靠在某人（某物）上( repose的过去式和过去分词 ) | |
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104
chancellor
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| n.(英)大臣；法官；(德、奥)总理；大学校长 | |
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105
vivacity
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| n.快活，活泼，精神充沛 | |
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gilded
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| a.镀金的，富有的 | |
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107
rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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108
archaic
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| adj.(语言、词汇等)古代的，已不通用的 | |
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109
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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110
notably
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| adv.值得注意地，显著地，尤其地，特别地 | |
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111
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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112
cloister
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| n.修道院；v.隐退，使与世隔绝 | |
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113
frieze
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| n.(墙上的)横饰带，雕带 | |
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114
arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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115
foliage
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| n.叶子，树叶，簇叶 | |
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116
tassels
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| n.穗( tassel的名词复数 )；流苏状物；（植物的）穗；玉蜀黍的穗状雄花v.抽穗， （玉米）长穗须( tassel的第三人称单数 )；使抽穗， （为了使作物茁壮生长）摘去穗状雄花；用流苏装饰 | |
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117
delightful
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| adj.令人高兴的，使人快乐的 | |
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118
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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robust
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| adj.强壮的，强健的，粗野的，需要体力的，浓的 | |
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decorative
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| adj.装饰的，可作装饰的 | |
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121
miraculously
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| ad.奇迹般地 | |
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122
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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123
superfluous
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| adj.过多的，过剩的，多余的 | |
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cumbersome
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| adj.笨重的，不便携带的 | |
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125
sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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127
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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vivacious
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| adj.活泼的，快活的 | |
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130
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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131
symbolic
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| adj.象征性的，符号的，象征主义的 | |
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blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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transformations
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| n.变化( transformation的名词复数 )；转换；转换；变换 | |
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134
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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139
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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doorways
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| n.门口，门道( doorway的名词复数 ) | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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patrician
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| adj.贵族的，显贵的；n.贵族；有教养的人；罗马帝国的地方官 | |
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Founder
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| n.创始者，缔造者 | |
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genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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diminutive
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| adj.小巧可爱的，小的 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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eloquence
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| n.雄辩；口才，修辞 | |
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envoy
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| n.使节，使者，代表，公使 | |
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secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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citadel
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| n.城堡；堡垒；避难所 | |
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civic
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| adj.城市的，都市的，市民的，公民的 | |
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thither
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| adv.向那里；adj.在那边的，对岸的 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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158
abode
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| n.住处，住所 | |
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portico
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| n.柱廊，门廊 | |
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160
equestrian
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| adj.骑马的；n.马术 | |
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lauded
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| v.称赞，赞美( laud的过去式和过去分词 ) | |
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sedulously
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| ad.孜孜不倦地 | |
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163
emancipation
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| n.（从束缚、支配下）解放 | |
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164
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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166
harangues
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| n.高谈阔论的长篇演讲( harangue的名词复数 )v.高谈阔论( harangue的第三人称单数 ) | |
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167
converged
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| v.（线条、运动的物体等）会于一点( converge的过去式 )；（趋于）相似或相同；人或车辆汇集；聚集 | |
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militia
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| n.民兵，民兵组织 | |
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forth
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| adv.向前；向外，往外 | |
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170
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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171
gathering
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| n.集会，聚会，聚集 | |
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172
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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transacted
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| v.办理（业务等）( transact的过去式和过去分词 )；交易，谈判 | |
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174
plebeian
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| adj.粗俗的；平民的；n.平民；庶民 | |
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175
smitten
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| 猛打，重击，打击( smite的过去分词 ) | |
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176
vowed
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| 起誓，发誓（vow的过去式与过去分词形式） | |
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177
joyful
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| adj.欢乐的，令人欢欣的 | |
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178
tumults
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| 吵闹( tumult的名词复数 )； 喧哗； 激动的吵闹声； 心烦意乱 | |
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179
rumour
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| n.谣言，谣传，传闻 | |
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180
besieging
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| 包围，围困，围攻( besiege的现在分词 ) | |
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181
defiance
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| n.挑战，挑衅，蔑视，违抗 | |
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182
relic
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| n.神圣的遗物，遗迹，纪念物 | |
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