ART
Visite turistiche
The Church of San Maurizio is a masterpiece of Milanese art that is striking for its richness and uniqueness. It was the church of the former Monastero Maggiore, the largest and oldest female monastery in Milan; the decoration is the true masterpiece: the walls and the ceiling are rich of marvellous paintings, stuccos, frescoes that cover every space, both in the hall of the Faithful and in the Nuns' Choir. The "genius loci" is Bernardino Luini, who worked there with his school, portraying stories of saints, parables and biblical episodes. An extraordinary expression of Lombard Renaissance art, so much so that the cycle of frescoes has been defined as “the Sistine Chapel of Milan”.
The church of San Maurizio al Monastero Maggiore in Milan (corso Magenta 13) can be visited thanks to the welcome by the Volunteers of the Touring Club Italiano from Wednesday to Sunday with admissions from 10 AM to 5 PM.
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San Maurizio al Monastero Maggiore
15 Corso MagentaThe Church of San Maurizio is a masterpiece of Milanese art that is striking for its richness and uniqueness. It was the church of the former Monastero Maggiore, the largest and oldest female monastery in Milan; the decoration is the true masterpiece: the walls and the ceiling are rich of marvellous paintings, stuccos, frescoes that cover every space, both in the hall of the Faithful and in the Nuns' Choir. The "genius loci" is Bernardino Luini, who worked there with his school, portraying stories of saints, parables and biblical episodes. An extraordinary expression of Lombard Renaissance art, so much so that the cycle of frescoes has been defined as “the Sistine Chapel of Milan”.
The church of San Maurizio al Monastero Maggiore in Milan (corso Magenta 13) can be visited thanks to the welcome by the Volunteers of the Touring Club Italiano from Wednesday to Sunday with admissions from 10 AM to 5 PM.
Palazzo Litta, also known as Palazzo Arese Borromeo Visconti Litta, is a historic building located in Corso Magenta in Milan. Considered one of the most important examples of Milanese Baroque architecture, it is currently the seat of the Regional Secretariat of the Ministry of Cultural Heritage and Activities and Tourism for Lombardy, of the Regional Museum Complex of Lombardy and of the Superintendence of Archeology, Fine Arts and Landscape for Metropolitan city of Milan.
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Palazzo Litta
24 Corso MagentaPalazzo Litta, also known as Palazzo Arese Borromeo Visconti Litta, is a historic building located in Corso Magenta in Milan. Considered one of the most important examples of Milanese Baroque architecture, it is currently the seat of the Regional Secretariat of the Ministry of Cultural Heritage and Activities and Tourism for Lombardy, of the Regional Museum Complex of Lombardy and of the Superintendence of Archeology, Fine Arts and Landscape for Metropolitan city of Milan.
The Civic Archaeological Museum of Milan is an archaeological museum, located in the former convent of the major monastery of San Maurizio, where the Greek, Etruscan, Roman, Barbarian and Gandhara sections are located. The prehistoric and Egyptian section is housed at the Castello Sforzesco.
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Civic Archaeological Museum
9 Piazza della CittadellaThe Civic Archaeological Museum of Milan is an archaeological museum, located in the former convent of the major monastery of San Maurizio, where the Greek, Etruscan, Roman, Barbarian and Gandhara sections are located. The prehistoric and Egyptian section is housed at the Castello Sforzesco.
The church has established itself over the centuries among the Milanese places of greater symbolic significance. It was founded in 379 as "Basilica Martyrum" in the burial place of the martyrs Gervasio and Protasio, and in 397 it also became the mausoleum of the future patron Ambrose. By the tenth century it had a new presbytery and a new apse, and between 1080 and the mid-twelfth century it was substantially rebuilt in Romanesque form - the naves and atrium - while other interventions and adaptations followed almost continuously in the following centuries. Today S. Ambrogio is often presented as a prototype of the Romanesque of the twelfth century. In reality, its image, while substantially respecting the planimetry and medieval proportions, largely depends on the prolonged building and restoration interventions carried out between 1859 and 1890. The actual church is preceded by a vast quadriportic atrium with a rectangular plan, built between 1088 and 1099; three sides are arcaded, and the fourth forms the narthex of the basilica; the capitals, sculpted in monstrous and vegetal figures, largely date back to the seventeenth-century intervention. The view from the atrium is one of the most classic views of Milan's iconography. The gabled façade, on two superimposed arcades, is framed at the bottom by the arcades of the atrium, and at the top by the two bell towers: the one on the right (the tower of the Monks), from the ninth century; the other (the Tower of the Canons) completed in 1144. A pre-Romanesque relief depicting Saint Ambrose stands out on the left portal; the central portal has architrave, jambs and lunette from the eighth-tenth centuries. Inside, the central nave - under a cross vault - is divided into four bays with a square base; the lateral ones have an identical layout, dominated by women's galleries. To the left of the central nave, next to the fourth pillar, there is an isolated column holding a bronze snake, a Byzantine work of the tenth century; in the third bay the remarkable pulpit stands out; below, the early Christian sarcophagus known as Stilicone dates back to the end of the fourth century. At the center of the presbytery, four Roman-ancient porphyry columns support the ciborium - with a canopy of Lombard-Byzantine polychrome stuccoes, from the tenth century - above the exceptional frontal, or gold altar, made in 835 by the goldsmith master Volvinio. Sheets of gold and gilded silver are chiseled with scenes from the life of Christ and St. Ambrose, divided by enamels and gems. The surviving parts of the carved wooden choir of 1469-1471 are relocated around the main apse; in the basin, a vast mosaic (The Redeemer between Sts. Gervasio and Protasio) partly from the fourth and eighth centuries, partly rebuilt in the 1700s and 1900s. In the crypt, a silver ark from 1897 houses the remains of Saints Ambrose, Gervasio and Protasio. Other notable works are found in the right aisle: in the first chapel, detached fresco (Deposition and saints) by Gaudenzio Ferrari; in the second, fresco decorations (Martyrdom of S. Vittore, Shipwreck of S. Satiro) originally made by Giambattista Tiepolo in the chapel of S. Vittore; in the sixth, a Madonna with Child and frescoes by Bernardino Lanino. The seventh chapel gives access to the chapel of S. Vittore in Ciel d’Oro, a fourth-century hall refurbished in the 1700s and 1900s, with fifth-century mosaics in the dome. From the left aisle, which in the first chapel preserves a fresco (Risen Christ and angels) by Bergognone, one exits into the portico of the Canonica, originally built by Bramante between 1492 and 1499, but rebuilt after the bombing of the Second World War. Under the portico is the entrance to the treasury of St. Ambrose, which collects relics from the history of the basilica: goldsmiths, fabrics, tapestries, marbles, stuccos, mosaics, wooden fragments and paintings.
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Basilika von Sant'Ambrogio
15 Piazza Sant'AmbrogioThe church has established itself over the centuries among the Milanese places of greater symbolic significance. It was founded in 379 as "Basilica Martyrum" in the burial place of the martyrs Gervasio and Protasio, and in 397 it also became the mausoleum of the future patron Ambrose. By the tenth century it had a new presbytery and a new apse, and between 1080 and the mid-twelfth century it was substantially rebuilt in Romanesque form - the naves and atrium - while other interventions and adaptations followed almost continuously in the following centuries. Today S. Ambrogio is often presented as a prototype of the Romanesque of the twelfth century. In reality, its image, while substantially respecting the planimetry and medieval proportions, largely depends on the prolonged building and restoration interventions carried out between 1859 and 1890. The actual church is preceded by a vast quadriportic atrium with a rectangular plan, built between 1088 and 1099; three sides are arcaded, and the fourth forms the narthex of the basilica; the capitals, sculpted in monstrous and vegetal figures, largely date back to the seventeenth-century intervention. The view from the atrium is one of the most classic views of Milan's iconography. The gabled façade, on two superimposed arcades, is framed at the bottom by the arcades of the atrium, and at the top by the two bell towers: the one on the right (the tower of the Monks), from the ninth century; the other (the Tower of the Canons) completed in 1144. A pre-Romanesque relief depicting Saint Ambrose stands out on the left portal; the central portal has architrave, jambs and lunette from the eighth-tenth centuries. Inside, the central nave - under a cross vault - is divided into four bays with a square base; the lateral ones have an identical layout, dominated by women's galleries. To the left of the central nave, next to the fourth pillar, there is an isolated column holding a bronze snake, a Byzantine work of the tenth century; in the third bay the remarkable pulpit stands out; below, the early Christian sarcophagus known as Stilicone dates back to the end of the fourth century. At the center of the presbytery, four Roman-ancient porphyry columns support the ciborium - with a canopy of Lombard-Byzantine polychrome stuccoes, from the tenth century - above the exceptional frontal, or gold altar, made in 835 by the goldsmith master Volvinio. Sheets of gold and gilded silver are chiseled with scenes from the life of Christ and St. Ambrose, divided by enamels and gems. The surviving parts of the carved wooden choir of 1469-1471 are relocated around the main apse; in the basin, a vast mosaic (The Redeemer between Sts. Gervasio and Protasio) partly from the fourth and eighth centuries, partly rebuilt in the 1700s and 1900s. In the crypt, a silver ark from 1897 houses the remains of Saints Ambrose, Gervasio and Protasio. Other notable works are found in the right aisle: in the first chapel, detached fresco (Deposition and saints) by Gaudenzio Ferrari; in the second, fresco decorations (Martyrdom of S. Vittore, Shipwreck of S. Satiro) originally made by Giambattista Tiepolo in the chapel of S. Vittore; in the sixth, a Madonna with Child and frescoes by Bernardino Lanino. The seventh chapel gives access to the chapel of S. Vittore in Ciel d’Oro, a fourth-century hall refurbished in the 1700s and 1900s, with fifth-century mosaics in the dome. From the left aisle, which in the first chapel preserves a fresco (Risen Christ and angels) by Bergognone, one exits into the portico of the Canonica, originally built by Bramante between 1492 and 1499, but rebuilt after the bombing of the Second World War. Under the portico is the entrance to the treasury of St. Ambrose, which collects relics from the history of the basilica: goldsmiths, fabrics, tapestries, marbles, stuccos, mosaics, wooden fragments and paintings.
From the churchyard of S. Maria delle Grazie you enter the former refectory of the Dominican convent, on whose short wall there is the Last Supper frescoed between 1495 and 1497 by Leonardo da Vinci is one of the most famous and most deeply penetrated iconography in the Western collective imagination. Together with the church, it is listed as a UNESCO World Heritage Site. The pictorial scene fixes the moment in which Jesus declares to the apostles that he knows that one of them is ready to betray. The well-known conservation problems that troubled the painting since its creation depend primarily on the technique used by its author: not the canonical 'a fresco' one, which prevents repenting and retouching, but dry, with strong tempera and on two layers of plaster, which soon proved to be very unstable on plaster. The situation was complicated by the humidity of the room, the settling of the wall, which caused fractures in the support of the painting, and the passing of the centuries which required repeated and often interminable restoration work: the last, which lasted from 1977 to 1999, has restored much of the original splendor of Leonardo's masterpiece but recommended the adoption of a very strict organization of visits. Reservation is mandatory, and must be done well in advance. Access is limited to a maximum of 30 people at a time and the stay inside lasts 15 minutes.
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Das Abendmahl
2 Piazza di Santa Maria delle GrazieFrom the churchyard of S. Maria delle Grazie you enter the former refectory of the Dominican convent, on whose short wall there is the Last Supper frescoed between 1495 and 1497 by Leonardo da Vinci is one of the most famous and most deeply penetrated iconography in the Western collective imagination. Together with the church, it is listed as a UNESCO World Heritage Site. The pictorial scene fixes the moment in which Jesus declares to the apostles that he knows that one of them is ready to betray. The well-known conservation problems that troubled the painting since its creation depend primarily on the technique used by its author: not the canonical 'a fresco' one, which prevents repenting and retouching, but dry, with strong tempera and on two layers of plaster, which soon proved to be very unstable on plaster. The situation was complicated by the humidity of the room, the settling of the wall, which caused fractures in the support of the painting, and the passing of the centuries which required repeated and often interminable restoration work: the last, which lasted from 1977 to 1999, has restored much of the original splendor of Leonardo's masterpiece but recommended the adoption of a very strict organization of visits. Reservation is mandatory, and must be done well in advance. Access is limited to a maximum of 30 people at a time and the stay inside lasts 15 minutes.
Discover one of the most precious treasures of Renaissance Milan
Casa Degli Atellani:
On 25 September 1490 Ludovico il Moro gave the noble Signor Giacometto di Lucia dell'Atella, his knight and intimate squire, the two neighboring houses, one large and the other small, which in the summer he bought for 6,000 imperial lire from the heirs of a noble from Piacenza.
The Atellani, or della Tela, were a family of diplomats and courtiers probably originally from Basilicata, who had risen to the north, at the court of the Moro and of the Sforza, during the fifteenth century. As evidenced by the many frescoes found on the walls and the short stories by Matteo Bandello, their houses and their magnificent garden were at the center of Milanese social life throughout the Sforza period. The Atellani lived there until the seventeenth century, after which the houses passed through three different owners families: the counts Taverna, the Pianca and the Martini di Cigala.
In 1823 the Piancas entrusted the Aspari architects with a radical neoclassical renovation of the facades, thanks to which the Atellani houses made their first appearance in the Milanese tourist guides. In 1919 the engineer and senator Ettore Conti bought them to make his home, despite the objections of Gianna Casati, his wife: "You don't want us to come and live in this hovel".
Conti entrusts the project to his son-in-law architect Piero Portaluppi. Portaluppi transforms the two houses into a single dwelling of his own invention, breaking down the walls that separate the pre-existing courtyards and creating a single entrance. Mixed with an expert hand to their passions, everywhere Portaluppi rediscovers and adds frescoes and artifacts unearthed in the five centuries of the building's life. After three years of construction, the new Atellani house was inaugurated in 1922, on the occasion of the silver wedding of Ettore Conti and Gianna Casati. After the war Portaluppi will take care of the restorations and a further transformation, necessary after the very serious bombings of 13 and 16 August 1943.
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Casa Atellani
65 Corso MagentaDiscover one of the most precious treasures of Renaissance Milan
Casa Degli Atellani:
On 25 September 1490 Ludovico il Moro gave the noble Signor Giacometto di Lucia dell'Atella, his knight and intimate squire, the two neighboring houses, one large and the other small, which in the summer he bought for 6,000 imperial lire from the heirs of a noble from Piacenza.
The Atellani, or della Tela, were a family of diplomats and courtiers probably originally from Basilicata, who had risen to the north, at the court of the Moro and of the Sforza, during the fifteenth century. As evidenced by the many frescoes found on the walls and the short stories by Matteo Bandello, their houses and their magnificent garden were at the center of Milanese social life throughout the Sforza period. The Atellani lived there until the seventeenth century, after which the houses passed through three different owners families: the counts Taverna, the Pianca and the Martini di Cigala.
In 1823 the Piancas entrusted the Aspari architects with a radical neoclassical renovation of the facades, thanks to which the Atellani houses made their first appearance in the Milanese tourist guides. In 1919 the engineer and senator Ettore Conti bought them to make his home, despite the objections of Gianna Casati, his wife: "You don't want us to come and live in this hovel".
Conti entrusts the project to his son-in-law architect Piero Portaluppi. Portaluppi transforms the two houses into a single dwelling of his own invention, breaking down the walls that separate the pre-existing courtyards and creating a single entrance. Mixed with an expert hand to their passions, everywhere Portaluppi rediscovers and adds frescoes and artifacts unearthed in the five centuries of the building's life. After three years of construction, the new Atellani house was inaugurated in 1922, on the occasion of the silver wedding of Ettore Conti and Gianna Casati. After the war Portaluppi will take care of the restorations and a further transformation, necessary after the very serious bombings of 13 and 16 August 1943.
Symbol of the Milanese Renaissance, the church, together with its Dominican convent and cloister, was built starting from 1466 on a project by Guiniforte Solari. When it was almost completed, however, it no longer responded to the artistic and political ambitions of Ludovico il Moro, then Duke of Milan, who elected it a noble a cappella. Ludovico thus ordered not only the embellishment of the church - the marble portal was built in 1489 by Benedetto Briosco - but a substantial re-foundation, entrusting Bramante with the construction of the lantern. The best view is from via Caradosso, where you can appreciate the cubic base block on which the lateral apses are grafted and from which the apsidal parallelepiped of the presbytery protrudes; around the lantern, with sixteen sides, runs a loggia with arches on coupled columns, which supports the dome without entablature. In addition to the lantern, the project commissioned by Ludovico il Moro completed the construction of the sacristy and the square connecting cloister. The solemn funerary ark built to contain the remains of his beloved wife Beatrice d’Este, who died in childbirth in 1497, was never placed in the center of the tribune, as the duke would have liked, and ended up at the Certosa di Pavia. (As we know, Ludovico was overwhelmed by the political upheavals of the end of the century, and died in exile in France). The adjacent Dominican monastery was the Milanese headquarters of the Inquisition from 1553 until 1778. Later transformed into a barracks, it was demolished at the end of the 19th century, and starting from 1895 Luca Beltrami carried out vigorous restoration work. The interior of the church has chapels on both sides, and highlights the Gothic setting of Solari with its pointed arches on the two rows of columns. The vaults bear a fresco decoration dating back to the time of construction, rediscovered after being hidden in the 1600s; figures of Dominican saints, attributed to Bernardino Butinone, appear frescoed on the pillars of the aisles. The first chapel on the right preserves on the left wall the Della Torre tomb (1483), by Francesco Cazzaniga; in the fourth there are frescoes reported (episodes of the Passion) by Gaudenzio Ferrari and aides. The dome of the tribune is supported by four arches connected by pendentives. In the presbytery, with a square plan closed by an apse, with an umbrella vault and oculi obtained in the tax arches, the wooden choir with inlays (1470-1510), on two rows of stalls, is remarkable. In the sixth chapel on the left stands an altarpiece (Holy Family with St. Catherine of Alexandria) by Paris Bordon (1545). Next, you pass into the chapel of the Madonna delle Grazie, the matrix of the church, rebuilt after the Second World War; at the altar, the fifteenth-century table - object of great veneration during the plague of 1576 - from which the complex takes its name. From the tribune you pass into the colonnaded cloister, which gives access to the Old Sacristy, built in 1499 and restored by 1982; on the walls inlaid wardrobes, paintings and remains of frescoes coeval with the construction. Since 2009, the Old Sacristy has hosted, in collaboration with the Ambrosiana Library, an exhibition of loose sheets of Leonardo's Codex Atlanticus.
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Santa Maria delle Grazie
Piazza di Santa Maria delle GrazieSymbol of the Milanese Renaissance, the church, together with its Dominican convent and cloister, was built starting from 1466 on a project by Guiniforte Solari. When it was almost completed, however, it no longer responded to the artistic and political ambitions of Ludovico il Moro, then Duke of Milan, who elected it a noble a cappella. Ludovico thus ordered not only the embellishment of the church - the marble portal was built in 1489 by Benedetto Briosco - but a substantial re-foundation, entrusting Bramante with the construction of the lantern. The best view is from via Caradosso, where you can appreciate the cubic base block on which the lateral apses are grafted and from which the apsidal parallelepiped of the presbytery protrudes; around the lantern, with sixteen sides, runs a loggia with arches on coupled columns, which supports the dome without entablature. In addition to the lantern, the project commissioned by Ludovico il Moro completed the construction of the sacristy and the square connecting cloister. The solemn funerary ark built to contain the remains of his beloved wife Beatrice d’Este, who died in childbirth in 1497, was never placed in the center of the tribune, as the duke would have liked, and ended up at the Certosa di Pavia. (As we know, Ludovico was overwhelmed by the political upheavals of the end of the century, and died in exile in France). The adjacent Dominican monastery was the Milanese headquarters of the Inquisition from 1553 until 1778. Later transformed into a barracks, it was demolished at the end of the 19th century, and starting from 1895 Luca Beltrami carried out vigorous restoration work. The interior of the church has chapels on both sides, and highlights the Gothic setting of Solari with its pointed arches on the two rows of columns. The vaults bear a fresco decoration dating back to the time of construction, rediscovered after being hidden in the 1600s; figures of Dominican saints, attributed to Bernardino Butinone, appear frescoed on the pillars of the aisles. The first chapel on the right preserves on the left wall the Della Torre tomb (1483), by Francesco Cazzaniga; in the fourth there are frescoes reported (episodes of the Passion) by Gaudenzio Ferrari and aides. The dome of the tribune is supported by four arches connected by pendentives. In the presbytery, with a square plan closed by an apse, with an umbrella vault and oculi obtained in the tax arches, the wooden choir with inlays (1470-1510), on two rows of stalls, is remarkable. In the sixth chapel on the left stands an altarpiece (Holy Family with St. Catherine of Alexandria) by Paris Bordon (1545). Next, you pass into the chapel of the Madonna delle Grazie, the matrix of the church, rebuilt after the Second World War; at the altar, the fifteenth-century table - object of great veneration during the plague of 1576 - from which the complex takes its name. From the tribune you pass into the colonnaded cloister, which gives access to the Old Sacristy, built in 1499 and restored by 1982; on the walls inlaid wardrobes, paintings and remains of frescoes coeval with the construction. Since 2009, the Old Sacristy has hosted, in collaboration with the Ambrosiana Library, an exhibition of loose sheets of Leonardo's Codex Atlanticus.
The path along the fifteen rooms of the museum, all worthy of attention, tells the exciting history of art in Milan and Lombardy from the early Christian age up to the 16th century, in an installation that is still essentially the one developed between 1947 and 1956 by BBPR study. Among the works of greatest interest, the marble head known as the empress Theodora (sixth century); the sepulchral monument of Bernabò Visconti (fourteenth-century work by Bonino da Campione); the banner of Milan (embroidered and painted in 1566); the decorations of the walls and above all of the vault of the Sala delle Asse, inspired and in part made by Leonardo (heavily damaged and subject to an ongoing restoration); the bas-relief by Agostino di Duccio from the chapel of S. Sigismondo in the fifteenth-century Tempio Malatestiano in Rimini; the Ducal Chapel; the large green room with the three sculptural portals (fifteenth-century portal of the Banco dei Medici) and the pieces of the Armory; the very fine sepulchral monument of Gastone di Foix by Agostino Bambaia (1522).
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Museum of Ancient Art
Piazza CastelloThe path along the fifteen rooms of the museum, all worthy of attention, tells the exciting history of art in Milan and Lombardy from the early Christian age up to the 16th century, in an installation that is still essentially the one developed between 1947 and 1956 by BBPR study. Among the works of greatest interest, the marble head known as the empress Theodora (sixth century); the sepulchral monument of Bernabò Visconti (fourteenth-century work by Bonino da Campione); the banner of Milan (embroidered and painted in 1566); the decorations of the walls and above all of the vault of the Sala delle Asse, inspired and in part made by Leonardo (heavily damaged and subject to an ongoing restoration); the bas-relief by Agostino di Duccio from the chapel of S. Sigismondo in the fifteenth-century Tempio Malatestiano in Rimini; the Ducal Chapel; the large green room with the three sculptural portals (fifteenth-century portal of the Banco dei Medici) and the pieces of the Armory; the very fine sepulchral monument of Gastone di Foix by Agostino Bambaia (1522).
For centuries the Milanese have considered the Castle an emblem of tyranny and foreign domination. Several times, in a long history, citizens have tried to attack and demolish the hated building. Only with the unification of Italy, transforming itself into a center of culture, the Castle became dear to the Milanese and a symbol of the city.
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Castello Sforzesco
Piazza CastelloFor centuries the Milanese have considered the Castle an emblem of tyranny and foreign domination. Several times, in a long history, citizens have tried to attack and demolish the hated building. Only with the unification of Italy, transforming itself into a center of culture, the Castle became dear to the Milanese and a symbol of the city.
Le Guide ai Quartieri
Squares, corners, streets and details make Milan a city not to be missed. Sometimes, in fact, it is not necessary to visit the great museums or the 'restricted' circle of the historic center to experience the Milan of the past, but just stroll through some areas that still contain its original spirit today.
One of these is certainly Corso Magenta which contains two souls in a single long street symbolically divided by Largo d’Ancona.
Bars, historic shops and Roman remains in Corso Magenta
Period houses, old shops and historic venues in Milan but also a little bit of Rome. Here is what you will find in the area from Largo d’Ancona to via Meravigli.
Take a historic Milanese tram or stroll along this street with your nose up and admire houses from other eras, palaces and churches. Do not miss a stop at the Church of San Maurizio al Monastero Maggiore to admire what many call the Sistine chapel of Milan.
Go out and immediately next to it is another corner of history in the Civic Archaeological Museum of Milan and Palazzo Litta with the homonymous theater that host private events of all kinds but also open to the public to allow everyone to admire its beautiful rooms.
If you are here at lunchtime, you cannot fail to stop at one of Milan's historic sandwich shops, De Santis, which has been open since 1982, and then end with a flourish in the historic Pasticceria Marchesi.
Finally, here are two little known little gems, despite their extreme value. One is the Rossi house, particular for its wonderful octagonal courtyard that fascinates all lovers of the perfect geometric shot. Just behind the Pasticceria Marchesi instead there is a piece of the history of Roman Milan with the remains of the imperial palace of Maximian.
And if the most central part of Corso Magenta is a real gem, "the other part" is no exception. Among the most visited wonders for those who come to the city, the Last Supper by Leonardo da Vinci which is located right here. And if admiring it is never easy given the long waits, those who succeed will certainly not be disappointed. Also here is the Leonardo's vineyard which, reopened to the public in 2015 on the occasion of Expo, attracts interesting people to visit it every day.
And still in Corso Magenta you will also find the Fondazione delle Stelline, once an institution for orphans and today a conference and meeting center.
Corso Magenta a concentration of art and history that makes the most famous streets pale.
Corso Magenta
Corso MagentaSquares, corners, streets and details make Milan a city not to be missed. Sometimes, in fact, it is not necessary to visit the great museums or the 'restricted' circle of the historic center to experience the Milan of the past, but just stroll through some areas that still contain its original spirit today.
One of these is certainly Corso Magenta which contains two souls in a single long street symbolically divided by Largo d’Ancona.
Bars, historic shops and Roman remains in Corso Magenta
Period houses, old shops and historic venues in Milan but also a little bit of Rome. Here is what you will find in the area from Largo d’Ancona to via Meravigli.
Take a historic Milanese tram or stroll along this street with your nose up and admire houses from other eras, palaces and churches. Do not miss a stop at the Church of San Maurizio al Monastero Maggiore to admire what many call the Sistine chapel of Milan.
Go out and immediately next to it is another corner of history in the Civic Archaeological Museum of Milan and Palazzo Litta with the homonymous theater that host private events of all kinds but also open to the public to allow everyone to admire its beautiful rooms.
If you are here at lunchtime, you cannot fail to stop at one of Milan's historic sandwich shops, De Santis, which has been open since 1982, and then end with a flourish in the historic Pasticceria Marchesi.
Finally, here are two little known little gems, despite their extreme value. One is the Rossi house, particular for its wonderful octagonal courtyard that fascinates all lovers of the perfect geometric shot. Just behind the Pasticceria Marchesi instead there is a piece of the history of Roman Milan with the remains of the imperial palace of Maximian.
And if the most central part of Corso Magenta is a real gem, "the other part" is no exception. Among the most visited wonders for those who come to the city, the Last Supper by Leonardo da Vinci which is located right here. And if admiring it is never easy given the long waits, those who succeed will certainly not be disappointed. Also here is the Leonardo's vineyard which, reopened to the public in 2015 on the occasion of Expo, attracts interesting people to visit it every day.
And still in Corso Magenta you will also find the Fondazione delle Stelline, once an institution for orphans and today a conference and meeting center.
Corso Magenta a concentration of art and history that makes the most famous streets pale.