_The Castello_
“La miglior fortezza che sia è non essere odiato dal
popolo.”—MACCHIAVELLI.
In the west of the city a vast red brick building, towering against the
sky, closes the wide vista of the modern Via Dante. It stands for that
storied stronghold and palace of the Visconti and Sforza, the Castello
di Porta Giovia, whose rapidly vanishing remains, mutilated, ruined and
buried beneath the additions and incrustations of five centuries of
changing circumstance, have been very recently dug out and restored and
rebuilt into the present interesting semblance of the fifteenth century
original.
The Castello was first built by Galeazzo II. Visconte, in the latter
half of the fourteenth century. Galeazzo’s stronghold incorporated one
of the thirteenth century gates, the Porta Giovia—or, in Milanese,
_Zobia_—which had kept the name of the corresponding gate in the Roman
walls, named Giovia in honour of the Emperor Diocletian Jovius. It
served at first solely for defence, and as a prison. Only a few years
after its erection Galeazzo’s subtle son secured within its walls his
first great prey—Bernabò Visconte, his uncle and fellow-sovereign. The
fortress did not then extend beyond the city walls; these with the moat
formed its defence towards the country. But Gian Galeazzo constructed a
second citadel beyond the walls and moat, enlarging the enclosure to the
dimensions which they occupy to-day—and enclosing Porta Giovia and a
portion of the city walls in the new precincts.
The Castello, so increased and strengthened, became the chief support of
the tyrants of Milan. Its possession ensured dominion of the city. When
Duke Giovanni Maria was murdered, the fortress was faithfully held
against all attacks by Vincenzo Marliano for his lawful successor,
Filippo Maria, who was able to enter through it into the seditious city
at the head of an army and force the factions to accept his rule. This
last of the Visconte sovereigns made his dwelling in the innermost keep
of the Castle in gloomy seclusion, imprisoned by his own fears. His
tyranny and dark habit of life invested the Castle with horror for his
subjects, and immediately after his death they deliberately tore the
great building down, stone by stone, at great cost. Only the foundations
were left standing.
But for a very brief time did the Milanese see the free sky unobstructed
by menacing towers. On the overthrow of the Ambrosian republic and the
accession of Francesco Sforza, the Castle began to be rebuilt, and
before long the great fortress, enclosed within much stronger defences
than before, was again in existence. It is this Sforza building, with
the additions made by Francesco’s sons, which we see in the restored
Castello of to-day, though the brave new battlements and towers give a
poor idea of the substance of those walls which amazed King René of
Anjou when he visited the works with the Duchess Bianca Maria in 1453,
and of a building celebrated by many writers as the strongest and
proudest in the world.
The first architects—or _ingegneri_—were Filippo da Ancona and Giovanni
da Milano. The latter was succeeded by Jacopo da Cortona in 1451. A year
later the building was far enough advanced for the Castellan, Foschino
degli Attendoli, to take possession. The day of his installation was of
mystical import for the Duke, who chose a day approved by his
astrologers, when the moon was waxing. Francesco, who desired to make
his building beautiful as well as strong, engaged the Florentine
architect Filarete to design and adorn a lofty entrance tower in the
walls facing citywards. This tower, destroyed long ago by accident and
time, is now represented by the modern Torre d’Umberto, in which it must
be supposed that the architect has somewhat freely interpreted the
scanty evidence in contemporary documents and drawings of the appearance
of the original.[25]
Footnote 25:
A fifteenth century graphite drawing of Milan on a wall of the old
monastery of Chiaravalle, a short distance from the city, shows the
form of the castle at that time.
The usual quarrels arose between Filarete and his Lombard
fellow-architects, whom the Tuscan scorned as mere masons. Their
jealousy and impatience defeated his ideas, and he was finally compelled
to abandon the work entirely to them. The Duke’s decorative projects
indeed came to little. His order to Jacopo da Cortona to make windows,
_of such beauty of style and form as a work like this demands_, in the
outer façade was never fulfilled, perhaps because of the inconvenience
of such openings in a defensive curtain, and it was left to the restorer
in these peaceful days to insert the Gothic windows—elaborately
ornamented in imitation of some of the old ones still remaining in other
parts of the building—which now adorn the front.
After the first the work proceeded slowly, hindered by the quarrels of
the architects, the irregularity of payments, and the dishonesty of
those in charge. In 1454 the Duke’s military engineer, Bartolommeo Gadio
of Cremona, was appointed to the chief post, which he held to the
satisfaction of three successive despots till his death in 1484. Duke
Francesco was destined never to inhabit himself this building which he
had watched with such ceaseless interest, but when he died in 1466 it
was complete in all its main features. Within the great walls which
flanked Filarete’s tower and were guarded at the angles by two massive
round towers lay the vast outer court, with fortified side gates, as
well as the main entrance in the central tower. At the other end of this
piazza rose a second mighty curtain of masonry, behind which lay the
citadel, containing the Corte Ducale on the north side, and on the south
a strongly defended inner enclosure, the Rochetta or innermost keep, the
place of retreat in extremity. In this form we see the Castle to-day,
though with all the defensive apparel which frowned from gates and tower
and walls gone.
On the accession of Galeazzo to the dukedom, the Corte Ducale was
completed with the utmost haste for his reception, and having settled
himself there, the young tyrant gave rein to his extravagant passion for
gorgeous decoration. While keeping architects and builders still
continually at work on his new palace, he called painters from all parts
of his state to fresco its walls, himself supplying the subjects. There
is little doubt that everything possible to mortals was done to please a
prince whose imperious will was supported by the torture chamber and the
executioner, and that the palace was soon gay with the colour which he
loved. Within its sumptuous halls Galeazzo entertained his guests with
lavish splendour. Here Cardinal Pietro Riario was accorded pontifical
state on his visit in 1473, and lay in a chamber so superbly adorned
that no one had ever seen another so magnificent and princely, and here
he and his host built up fantastic political schemes, which were to make
the one monarch of Peter’s throne and the other king of all
Italy—schemes drowned but a few days later in a poisoned cup offered to
the mad young priest at a Venetian banquet.
The Duke continued the construction of the Rocchetta also, which his
father had left unfinished, and gave orders for the decoration of the
great Sala della Palla on its north-east side. But it is with the Corte
Ducale that the fateful memories of this prince are especially
associated. Thither he returned on the Feast of St. Thomas, 1476, with
the glory of a victorious campaign freshly investing him, yet abstracted
and pensive, possessed with a sense of the nearness of death, so that he
bid the singers of his chapel to repeat every day in the midst of the
joyful celebrations of the season, the mournful cry from the Office of
the Dead, _Maria Mater Gratiæ, Mater Misericordiæ_.... In the painted
halls behind the chapel the usual Christmas ceremonies were carried out,
and in the Sala _dei Fazoli_ the Yule log was solemnly lighted upon the
hearth in the presence of the tyrant and his family, and of all the
great feudatories of state. In the Sala delle Columbine—painted with
doves—the Duke, clad in a long crimson robe, entertained his courtiers
on Christmas Day, and discoursed on the greatness of Casa Sforza,
pointing out with unconscious irony how firmly its fortunes were assured
in the many descendants of his father Francesco then existing in health
and prosperity. We may picture his tall figure on the following day,
clad in the doublet of crimson satin lined with sable, for which, with
characteristic vanity, he had cast aside his cuirass, fearing to appear
too stout if he wore the armour beneath; and in the long hose, one
crimson, one white, worn by the princes of Milan, passing through the
loggia, which still exists, though much restored, and down the great
staircase into the courtyard, on his way to attend Mass in S. Stefano.
He had kissed his little sons, and parted from them with a strange
hesitation—this man who, as his daughter Caterina proudly declared,
_never knew fear_. Mounting his horse in the outer court, he rode out
beneath the Tower of Filarete, followed by a gorgeous throng of
courtiers, and his brilliant figure disappears from the Castello for
ever. Later on the same day a messenger passed out of the gate charged
by Bona with three rings, a turquoise, a ruby, and a precious seal, and
with a vest of white cloth of gold, for the adornment of his body, which
lay laced with twenty-three dagger wounds, in the Canonica of S.
Stefano.
With the death of Galeazzo, the historic interest of the Castello shifts
to the Rocchetta. This inner keep has remained more in its old state
than the Corte Ducale, and is the most picturesque part of the castle
to-day. The cortile is one of those characteristic colonnaded buildings
which are generally described as Bramantesque in Milan. Two of the sides
of the quadrangle, however—to the left of and facing the entrance from
the outer court—are of older date, having been built by Francesco and
Galeazzo Maria respectively. The columns and capitals show the character
of the early Renaissance in Milan; upon the capitals are carved the
shields and various devices of the dukes. The other part was not
finished till later. The lofty tower at the north-east angle, called the
Torre di Bona, was built during the brief regency of Galeazzo’s widow,
when Cecco Simonetta hastened to complete the defences of the Rocchetta
in order to ensure her authority. This measure, however, only served for
her undoing at the hands of Lodovico il Moro, who, having taken
advantage of her weakness and folly to possess himself of the Rocchetta,
the person of the little Duke, and, in consequence, of the supreme
government of the state, made his abode in this, the heart and key of
the whole stronghold.
During the first years of his rule Lodovico did little to the Castle
beyond completing its defences. But as time went on he allowed himself
to assume the splendour of a reigning prince, and to satisfy an artistic
appetite as eager as Galeazzo’s and ordered by a finer discrimination.
The great artists whom he called to his court were set to work to make
the palace such a home of art and beauty as the world has rarely seen.
Their services were required not only for lasting work, but to design
the ephemeral decorations of the gorgeous state ceremonies in which the
regent delighted to display the wealth at his command. The magnificent
decorations for the coming of the young Duke’s bride, Isabella of
Aragon, in 1489, were designed, it is said, by Leonardo da Vinci. The
regent’s own approaching marriage with Beatrice d’Este caused a great
ferment of artistic activity during the next year in the Rocchetta in
preparation for her habitation there. With despotic impatience Lodovico
summoned all the best “painters of histories”—_depinctori de
istoriade_—to come to Milan within two days of his order on pain of
heavy fines, and show designs for the decoration of the Sala della
Palla. He himself describes the room in a letter to his brother Cardinal
Ascanio. The ceiling was blue, with golden stars, in similitude of the
heavens, and the walls were covered with pictures on canvas representing
the exploits of Francesco Sforza, whose image on horseback beneath a
triumphal arch was depicted at the upper end.
With the advent of Beatrice d’Este the Rocchetta became the scene of an
incomparable gaiety. The young princess filled it with new life. Her
extraordinary capacity for enjoyment never knew satiety, not even in the
lengthiest of state functions, which she enlivened by teasing the hoary
ambassadors who occupied the place of honour beside her. In the
beautiful rooms prepared for her in the south-west side of the court she
lived her brief enchanted existence in the midst of the most exquisite
environment which her husband’s wealth and devotion and the fine art of
the Renaissance could create for her.
[Illustration: THE ROCCHETTA, CASTELLO]
How difficult it is to-day, in this exhumed corpse of her old home,
these dry bones of the past, denuded of all their old richness of detail
and decoration, to realise that vivid young presence. Yet the sun shines
gloriously in the wide cortile this afternoon, making a stately pattern
of light and shade in the arcades, and we recognise at least in the fair
and spacious proportions of the building and the grace of sculptured
column and curving arch, that Renaissance beauty of architecture which
made it once a worthy setting for such a prince and princess as Lodovico
il Moro and Beatrice d’Este.
During his regency the Moro spent enormous sums on the various works
which he undertook in the Castle. He formed a vast piazza around it, in
the midst of which he apparently intended to place Leonardo’s great
equestrian statue of Duke Francesco. The clay model of this statue was
in fact set up there on the occasion of Bianca Maria Sforza’s marriage
with the Emperor Maximilian, and remained there till, with the passing
of the Moro’s ephemeral glory, it too perished for the wanton amusement
of a foreign invader. In 1494, when the death of Gian Galeazzo removed
the last shadowy limitation of Lodovico’s sovereignty, the tyrant
pressed on with new eagerness the incessant labours of his architects
and engineers on the great building. The Rocchetta was finally completed
by a portico on the north-east side; and among many other alterations
and additions a set of exquisite camerini opening into a loggia were
built across a bridge over the moat on the north-east side of the Corte
Ducale. The picturesque exterior of this structure, which has been
attributed to Bramante—groundlessly, it appears—may be seen in restored
form to-day. The great gardens which extended on the north and west of
the Castle were a special object of the Moro’s care. He enlarged them
continually, absorbing without mercy all the Naboths’ vineyards
adjacent. Both Leonardo and Bramante were employed by him at this time
for various works in the Castello—chiefly of defence and utility—though
Leonardo was also charged with the decoration of rooms in his character
of painter. There are jottings in his notebooks referring to work of
this sort, estimates in fact of the cost of the materials and labour
required. Other existing documents show him frescoing the Sala delle
Asse and a certain Saletta Negra in the Corte Ducale. But in spite of
the most painstaking research and every effort of restoration, there is
nothing now remaining in these rooms which can be considered Leonardo’s
handiwork. Neither of Bramante is there any undoubted trace left, except
a precious fragment of a painting in one of the rooms of the Rocchetta.
The sudden death of Beatrice in the early days of 1497 extinguished all
the sunshine in the Castello. The labours of builders and artists still
continued upon it. But it was to works of defence that the thoughts of
the Duke were compelled now to turn almost exclusively. The peril of the
French threatened the throne of the Sforza. Leonardo and the others were
occupied in 1498 and 1499 in strengthening the fortifications and
inventing new engines of defence, and the Rocchetta especially was
rendered so strong that it was practically impregnable. Yet all this
labour and care served only for the ruin of the Moro, and the advantage
of his enemies. Afraid to trust himself within it, as we have seen, he
abandoned it at the critical moment, leaving it in the hands of his
faithless Castellan Bernardino da Corte, and deluding himself with the
belief that he was turning his back upon it for an hour only, to return
in triumph to its relief, he passed out of the gates for ever.
With the departure of Lodovico Sforza ended the good days of the
Castello. Surrendered by Bernardino da Corte to the French, it was
sacked of all its wonderful contents. Bernardino claimed as his share of
the spoil all that Lodovico had not removed of the famous Sforza
treasure, including priceless works of the goldsmiths’ art. Gian Giacomo
Trivulzio seized the splendid tapestries. All the exquisite accessories
of Beatrice’s short life, her costly robes, her instruments of music,
her jewels, her beautiful books, were rudely shared between the various
spoilers. What became of the pictures is unknown. The French captains
occupied her private apartments, her delicate camerini, and the
beautiful halls and courts where life had been practised as a fine art,
were given up to coarse and drunken jollity, and defiled by the foul
habits of the invaders. How deplorable the change in the eyes of the
Italian princes and ambassadors who waited with servile deference upon
Louis XII. during his stay in Milan is shown by many records. _In the
castello there is nothing but dirt and foulness_, says a Venetian who
was present then, _such as Signor Lodovico would not have allowed for
the whole world_.
The Castle had now to serve the grim purposes of war, not of art and
pleasure. For these it was well fitted, in the hands of determined
defenders. The French chronicler, Jean d’Auton, who was in the train of
Louis XII., describes with admiration its immense strength, its broad
moats, its towers, ramparts, walls and outworks, its fortified gates,
its sally ports and posterns, with the impregnable Rocchetta in its
midst. _If their effeminate stomachs had been swelled by manly hearts_,
says he, speaking of Lodovico’s garrison, _well might they have held it
long against every human power, for they had in their hands one of the
most advantageous places in the world.... In such keeping is it now_, he
adds, _that, in spite of all the winds, in every corner of its garden,
the noble fleur-de-lys shall flower for ever_. The fleur-de-lys was not,
however, so fadeless as he boasted. But it bloomed undisturbed for
twelve years, during which period the palace once or twice knew
splendour and gaiety once more, as in 1507, when Louis XII. held his
court there for a short time, and was waited on by cardinals, princes,
and distinguished men from all parts of Italy. Then it was that Isabella
d’Este danced with the king in the great ball-room in the Rocchetta,
where her dead sister had presided. There, too, was Galeazzo di San
Severino, once the most intimate friend of the now captive Moro and his
wife, and now Grand Ecuyer to the usurper. The court poets, the
musicians sang their venal praises as gaily for the new as for the old
master, Leonardo, too, was there, in the service of the French king. For
him one tyrant passed and another came; art alone endured.
The ravages in the palace were concealed by the gorgeous decorations.
Two years later the king came again, and the company on this occasion
was so superb that the meanest dresses were of brocade. These were but
temporary liftings of the gloom. In 1512 the castle was besieged by the
Holy League, and the French turned out. Again in 1515 it was retaken by
the French, and the weak young Duke Massimiliano Sforza was replaced by
the splendid Francis I., who rode in, fresh from his victory in the
Battle of the Giants, beneath the usual arches of triumph. In 1521 a
terrific explosion of gunpowder, lit it is said by a thunderbolt from a
serene sky, destroyed the great Torre di Filarete, and killed the
Castellan and a number of the garrison. A few months later the Castle
was besieged by Charles V.’s army, and after fourteen months of heroic
endurance, the French were again expelled. The reign of Francesco II.
Sforza followed with all its terrible vicissitudes of war and siege and
Spanish occupation. Bombardments, the necessity for new defences and
alterations, the polluting presence of the Spaniards and lanzknechts
wrecked ever more and more the proud habitation of the Sforza. A mocking
reflection of its old glory brightened it for a few years after Duke
Francesco’s reconciliation with the Emperor in 1530, and one or two
splendid pageants were added to the long succession of gorgeous
spectacles of which it had been the scene under the Sforza. These ended
in 1535 in the melancholy ceremony of the last Duke’s funeral, when his
dead body, or rather an image of it, arrayed in crimson velvet and
scarlet hose, and a mantle of richest golden brocade, and crowned with
the ducal beretta, was borne forth beneath a canopy of cloth of gold, by
the doctors of the University, preceded by an endless train of friars
and monks and clergy and black-hooded mourners carrying torches, and
followed by kinsmen, ambassadors and nobles in sable robes reaching to
the ground. The real body was carried out quietly to the Duomo the same
evening. Thus in symbolic show and unreal grandeur the short-lived
dynasty of the Sforza vanished out of this great fabric of its creation.
From this time the Castello ceased to be the chief palace of a sovereign
prince. Under the Spaniards its precincts were enlarged and strengthened
in the second half of the sixteenth century by an immense outer
quadrangle of fortifications which completely altered its aspect. The
changing conditions of warfare, and the advance of the science of
fortification, brought continual additions and changes, and many of the
beautiful constructions of the Sforza period were ruthlessly sacrificed.
Yet the Castello remained for long one of the famous sights of Europe,
and is described with admiration by many travellers.
In 1800 the fortifications built by the Spaniards were destroyed, and
only the old Sforza nucleus remained, abandoned to natural decay, and
converted later into barracks. It is from this fate that its ruins have
been rescued and built up into the imposing edifice of to-day.
The stately halls of the Corte Ducale are now the home of the
archæological and artistic collections of the municipality. We have only
space to mention shortly some of the most interesting objects as we pass
through the rooms.
Sala I., once the office of the ducal chancellors, contains prehistoric,
Etruscan, Greek and Roman antiquities, mostly dug up in Milan and its
province. The beautiful torso of a Venus, with fragments of a Cupid and
marine accessories forming a group with her, is the most precious relic
yet drawn from the grave of imperial Milan. Another treasure is the base
decorated with graceful fresco paintings, in excellent preservation, of
Ceres, Fortune, Hercules and Victory.
Sala II., containing Lombard sculptures from the sixth to the thirteenth
centuries shows the complete decay of the old Roman tradition and the
rude early stages of the new era of art. The most interesting objects
historically, and also as evidence of the extraordinarily barbarous
state of Lombard sculpture in the twelfth century, are the bas-reliefs
from the old Porta Romana, one of the gates built by the Milanese in
1171. They represent the return of the citizens after their expulsion by
Barbarossa, and in the rows of rudely carved figures on the first
pilaster we see on one side the Milanese knights and men-at-arms
entering a gate, with the name Mediolanum above, marshalled by a priest
bearing a banner; on another side the soldiers of the allied cities,
issuing from gates, with Brisia (Brescia) and Cremona marked above; on
another, women and horsemen and priests carrying the cross. A boastful
inscription records the authors of the sculptures, Anselmo and Gherardo,
and proclaims one a new Dædalus, the other as being _pollice docto_, of
cunning hand! On the other pilaster St. Ambrose is represented with
scourge in hand driving out the Arians, and on another side are the
citizens in procession, men with tools and chattels, women with babies.
A large figure astride a devil, supposed to be a satirical portrait of
Barbarossa, was once on the same gate, together with an insulting figure
of the Empress which is also in this room. Here is, besides that
precious memorial of Milan’s freedom, the Stone of the Milanese Consuls,
once fixed also on Porta Romana, a tablet recording the return of the
people to their city in 1167, and the erection of the towers and gates,
together with the names of the consuls.
The ceiling of this hall—one of the state rooms of the Sforza—shows
traces of Renaissance painting—Cupids holding shields.
Sala III.—Fourteenth century sculpture by the Campionese masters. Here
is the great sepulchral monument of Bernabò Visconte, with an equestrian
statue of him on the top, executed in his lifetime, probably by Bonino
da Campione, the sculptor of the tomb of Cansignorio at Verona, which it
resembles in style. In the reliefs the Pisan traditions of Giovanni da
Balduccio are followed, but with the inferior ability and the heaviness
and rigidity of the local school, and modified also by a tendency
towards realistic expression and elaboration of the draperies, which
develops later into the mannerism of the fifteenth century Lombards. The
smaller monument of Bernabò’s wife, Regina della Scala, is by the same
school. The Dead Christ upon the front is, however, a more artistic
piece of work than the same subject on Bernabò’s tomb. The droop of the
head and fall of the arms is expressed with truth and feeling, and the
figures of Luke and John are excellent in their dignity and simplicity.
The vaulted roof of this room is decorated with a fifteenth century
fresco of the Resurrection by an inferior Lombard painter, and with the
arms and initials of Galeazzo Maria Sforza.
Sala IV.—Works of the Campionese masters, among them the groups of
Madonna and Saints, once upon the old Porta Orientale and Porta Romana.
In the cortile is set up the magnificent marble portal of the palace
built by Pigello Portinari in the reign of Francesco Sforza, to
accommodate the Medicean Bank, and not long since pulled down. This
beautifully proportioned doorway is attributed to Michelozzo. In the
spandrils are profile busts of Duke Francesco and Bianca Maria. The
heavy figures on the outer sides of the door are additions by some
Lombard sculptor.
Sala V. consists of the upper half of the old ducal chapel. It still
preserves, in much damaged condition, the ceiling fresco of God the
Father in a blue sky with golden stars, which Galeazzo Maria commanded
to be painted, and for which there was great competition between the
court artists. It was finally done, in part at least, by Bonifazio
Bembo, Stefano de’ Fedeli and Gio. Montorfano. A Resurrection is also
dimly visible, and beneath the vaulting the Virgin and Angel of the
Annunciation, with Saints half obliterated on the walls below. The room
contains sculpture of the early fifteenth century, and an exquisite
Renaissance doorway at the head of the room, and another from the palace
of Ippolita Sforza in Piazza S. Giovanni in Conca, at the entrance into
Sala X.
Sala VI.—The old Sala delle Asse—at present empty—has a grand ceiling
decoration, purporting to be a restoration of the decoration done by
Leonardo in this room for Lodovico il Moro, of which some supposed
traces were discovered here.
Sala VII.—This, called the Sala dei Ducali, from the ducal shields with
which the ceiling is painted, contains sculpture of the late fifteenth
century. Here are some of the characteristic productions of the Milanese
Renaissance sculptors, among them a tondo of the Nativity, an early and
attractive work by Amadeo, in which the mannerisms, such as the
paper-like folds of his draperies, are not yet unpleasantly evident;
four pilasters, with reliefs attributed to Tommaso Cazzaniga; a little
tabernacle in the window representing St. Sebastian, now attributed to
Amadeo, to whom is also ascribed a little bas-relief of St. Cristopher,
carrying a vivacious infant with a large head. There is also here a
beautiful tabernacle, attributed to the Maestro di San Tommaso (so
called from a work by him in S. Tommaso at Venice), and a bas-relief by
the Florentine Agostino di Duccio.
Sala VIII.—The Sala delle Columbine of Galeazzo Maria’s time is
decorated with the favourite ducal device of the dove in the midst of
rays, and the motto A Bon Droit. It is devoted to the works of Amadeo
and the sculptors of his time. Here are some characteristic pieces by
the Mantegazza brothers, two kneeling saints, angular and unbeautiful,
and four bas-reliefs from the old façade of S. Satiro, representing
Sibyls, and the creation of Adam and Eve. In these a predilection for
long and angular contours and exaggeratedly complicated folds are united
to an energetic, almost violent expression. Two kneeling angels, once
attributed to the Mantegazza, are probably by Amadeo, by whom also are
the tondi with the Virgin and the Angel of the Annunciation, and
probably the head of a boy, placed in the middle of the room, broad and
realistic in style, and of vivacious expression, but without beauty. Of
rich and exuberant fancy are the exquisite arabesques on some marble
fragments supposed to belong to the Targhetta monument in the Duomo,
sculptured by Amadeo. A tondo of the Nativity shows the fully developed
manner of this master. There is also a bas-relief of Cain and Abel by
Amadeo, as well as other things by him and his fellow sculptors.
Sala IX.—The Sala degli _Scarlioni_—of the Zigzags—painted with red and
white stripes, contains sculpture of the rather later period of il
Bambaia and Fusina. Here is Bambaia’s famous work, the recumbent statue
of Gaston de Foix, from the hero’s monument in Sta. Marta, which was
broken up and sold at the demolition of that church. The head is of
classic beauty, and the whole figure shows a depth and sincerity of
feeling to which we are hardly accustomed in this able but usually cold
and uninspired artist. There are smaller fragments of the decoration of
the same tomb on a stand close by. The casts in the cases are from
reliefs also intended for this monument and now dispersed in various
collections; they show in the detached style of the ornamentation and
the confused design, a desire for novelty, unrestrained by artistic
feeling. There are other works by this master, some of a classic grace,
besides a number of other interesting things.
Sala X.—The lower half of the Capella Ducale exhibits a fine collection
of the characteristic terra-cotta ornamentation of North Italy. In this
delightfully plastic material, so rich and picturesque in colour, the
Lombard decorative artists found a most happy medium for their art,
which for the play of its exuberant gaiety and fancy needed a less
severe material than marble. This wealth of exquisite fragments of
decoration from old houses and convents gives some idea of the beauty
which clothed the buildings of this city and its neighbours in the
Gothic and Renaissance periods. Here are set up windows with rich
mouldings such as may still be seen here and there about the city, but
more and more rarely as time goes on and the beautiful old buildings
fall one by one in that dreadful sounding process, the _sventramento_ of
the old crowded quarters. Here are some remains of the lately destroyed
house of the Missaglia, a famous family of armourers in the fifteenth
century, whose monogram appears upon a capital, and fragments from the
beautiful Banco de’ Medici, of which some drawings are also shown. The
charming fresco of little Gian Galeazzo Sforza, reading Cicero, by
Bramantino, now in the Wallace Collection, came from this palace.
Mounting by the grand staircase and passing through the Loggia di
Galeazzo Maria, we enter the great Sala Verde of the ducal days, which
now contains a fine collection of majolica; ivories of the Roman and
Mediæval eras; Limoges enamels; some beautiful sixteenth and seventeenth
century glass, besides other things.
Sala II.—Here are some very beautiful crucifixes and sacred vessels,
examples of goldsmiths’ work of the Gothic and Renaissance periods;
bronzes of later date; seventeenth century tapestries, etc.
Sala III. and Sala IV. contain carved and inlaid furniture—cornices,
panels of altarpieces, etc. A carved altar frame of richest Renaissance
style, with little paintings of saints at the corners, is a Lombard
production of the fifteenth century.
Sala Milano.—This room is chiefly occupied with drawings and paintings
of the buildings of old Milan, and mementoes of her history. Beneath the
ceiling are ranged charming fresco portraits of the Sforza, by Luini,
taken from a house in Corso Magenta. They are of course chiefly fancy
presentments of those historic personages. The great silken standard of
St. Ambrogio, partly needlework, partly painted in tempera, of the
sixteenth century, hangs on the wall. A very interesting little painting
on wood, much damaged, depicts Galeazzo Maria Sforza, his son Gian
Galeazzo, and lastly Lodovico il Moro, following one another in order of
rank on horseback, fully armed and accompanied by their pages. Their
arms and special devices are painted on the trappings of their horses.
It is a work evidently of Galeazzo Maria’s time.
Sala VII.—Here we enter the Pinacoteca, which contains a small but very
valuable collection of the Lombard and other North Italian Schools.
Martyrdom of S. Sebastian by Vincenzo Foppa is an impressive work. The
artist’s tendency to dark and grey tones is carried to an extreme, and
the effect is gloomy, almost tragic. St. Ursula and her Virgins by
Moretto. The saint in her flowing draperies, holding the banners, is a
noble figure, and the colour is good, with that opaque quality peculiar
to this Brescian artist.
Sala II.—Large altarpiece by Borgognone, Madonna with SS. Sebastian and
Jerome, is in his usual gentle and devout manner. Buttinone, a series of
small scenes from the New Testament, showing all his peculiar
mannerisms; the action of the rather grotesque figures is decidedly
vigorous. Vincenzo Foppa, a small Madonna picture, has all the painter’s
strong characteristics. The string of corals reminds one of his Paduan
training. Gianpietrino, a picture of the Magdalen, his favourite
subject, is better drawn and modelled than his figures sometimes are,
and less morbid in the flesh tones. Sodoma, a very theatrical S.
Michael. Boltraffio, Madonna and Child of his usual type, and rather hot
colour, and two panels of Saints, with well-painted profile portraits of
donors. Correggio, Madonna and Child, with little S. John is a
particularly gracious composition. She looks down with a sad half smile
at the children, who have the childish charm which Correggio depicts
with such subtle mastery. It is a picture to sit down in front of and
enjoy. By Carlo Crivelli there are two Saints, S. John with finger on
lip, holding a book, and S. Bartholomew holding a knife and book.
Antonello da Messina, a fine portrait of a dark man crowned with a green
wreath. On the other side of the room there is a splendid portrait by
Tintoretto of Doge Jacopo Soranzo, an old man in deep wine-coloured
dress. Moroni, a portrait of a man in black with white ruff. Il Bassano,
a man in elaborately ornamental armour. Antonio Pordenone, a fine
portrait of a man with a small dog, a Titianesque landscape showing
through the window. By Bernardino Licinio is a beautiful portrait of a
fair, golden-haired woman, in rich black velvet dress embroidered in
gold. She holds a picture of a man, and a lovely landscape of water and
hills and sky shows through the window. This work has all the warmth and
glow of the best period of Venetian painting. Cariani, a realistic
portrait of a stout woman painted in a masterly manner. In interesting
contrast to these splendid, generous, if decidedly sensuous paintings,
is the small portrait by Lorenzo Lotto of a young man. It is not only
the great subtlety and delicacy of treatment, the arrangement of cool
flesh tones, grey dress and blue background, but the individuality of
facial expression that most distinguishes it from contemporary painting.
The artist has analysed the character of this youth and given us a
psychological study. Mr. Berenson calls this picture ‘artistic’ in the
French sense of the word and unexpected as a work of the
Renaissance.[26]
Footnote 26:
B. Berenson, _Lorenzo Lotto_.
On the walls are placed frescoes by Foppa and the early Milanese school,
removed from demolished churches. Some beautiful miniatured books,
Corali, Missals, Lives of the Saints, Bibles, etc., are ranged down the
middle of the room on screens.
A small door at the end of this room opens into a way which leads by
narrow staircases and passages and by a sort of drawbridge through the
Torre di Bona into the Rocchetta. It was across here, by ways very
strongly defended and almost impossible to force, that the little Duke
Gian Galeazzo was hurried into the keep when he was stolen from his
mother by the emissaries of Lodovico il Moro. The great rooms of the
Rocchetta, once sacred to the fortunate existence of Lodovico and
Beatrice, and now completely restored, contain the collections of Modern
Art and the Museum of the Risorgimento, which is filled with deeply
interesting memorials of that great recent moment of Milan’s history,
when she showed herself splendidly true to her grand traditions as the
leader of the Lombard League seven hundred years earlier. There is
something curiously suggestive in the presence of these memorials here
in the old home of Lodovico il Moro, who represents the height of the
tyranny to which the city succumbed in the intervening centuries. As we
glance round these renovated rooms we realise how victoriously she has
at last swept that tyranny and all its sins and evil memories away,
sacrificing with it inevitably the artistic and decorative beauty which
partly redeemed it.
[Illustration: MILAN]
1 Duomo
2 Palazzo della Ragione
3 S. Satiro
4 S. Sepolcro
5 Ambrosiana
6 Palazzo Borromeo
7 Monastero Maggiore
8 S. M. delle Grazie
9 S. Ambrogio
10 S. Vincenzo in Prato
11 S. Giorgio in Palazzo
12 S. Lorenzo
13 S. Eustorgio
14 S. Celso
15 S. Calimero
16 S. Nazaro
17 S. Stefano
18 S. Pietro in Gessate
19 S. M. della Passione
20 S. Babila
21 Palazzo Marino
22 Museo Poldi-Pezzoli
23 S. M. del Carmine
24 Pinacoteca di Brera
25 S. Marco
26 S. Simpliciano
27 S. M. dell’ Incoronata
In the Sala del Tesoro, on the ground floor, where modern sculpture is
now exhibited, will be found the remains of a fresco by Bramante,
representing Argus, a magnificent warrior figure, fit guardian of this
chamber, which once held the famous treasure of the Sforza.
TABLE OF THE VISCONTI
[Illustration]
Uberto
+—— =Otto= Archbishop of Milan, _d._ 1295
+—— Obizzo
| +—— Tebaldo
| +—— =Matteo il Grande=, _d._ 1322
| +—— =Galeazzo I.=, _d._ 1328
| | _m._ Beatrice d’Este
| | +—— =Azzo=, _d._ 1339
| +—— Marco, _d._ 1329
| +—— =Luchino=, _d._ 1349
| | +—— Luchino Novello
| | +—— Bruzio (illegitimate)
| +—— =Giovanni= Archbishop of Milan, _d._ 1354
| +—— Stefano, _d._ 1327
| +—— Matteo, _d._ 1355
| +—— =Bernabò=, _d._ 1385
| | _m._ Regina della Scala
| | +—— Lodovico
| | +—— Marco
| | +—— Carlo
| | +—— Verde
| | +—— Caterina
| | | _m._ Gian Galeazzo Visconte
| | +—— Agnese
| | | _m._ Francesco Gonzaga
| | +—— Ettore (illegitimate)
| | +—— Donnina (illegitimate)
| | | _m._ Sir John Hawkwood
| | +—— Valentina, etc. (illegitimate)
| +—— =Galeazzo II.=, _d._ 1378
| _m._ Bianca di Savoia
| +—— =Gian Galeazzo= 1st Duke of Milan, _d._ 1402
| | _m._ (1) Isabella de Valois
| | _m._ (2) Caterina Visconte
| | +—— =Giovanni Maria= 2nd Duke of Milan, _d._ 1412
| | +—— =Filippo Maria=, _d._ 1447
| | | _m._ (1) Beatrice Tenda
| | | _m._ (2) Maria di Savoia
| | | +—— =Bianca Maria= (illegitimate)
| | | _m._ =Francesco Sforza=
| | +—— Valentina
| | | _m._ Louis Duke of Orleans
| | | +—— Charles Duke of Orleans
| | | +—— Louis XII.
| | +—— Gabriello (illegitimate)
| +—— Violante
| _m._ Lionel Duke of Clarence
+—— Gaspare
+—— Pietro
+—— Lodrisio
TABLE OF THE SFORZA
[Illustration]
=Sforza degli Attendoli=
+—— =Francesco= 4th Duke of Milan, _d._ 1466
| _m._ Bianca Maria Visconte
| +—— =Galeazzo Maria= 5th Duke of Milan, _d._ 1476
| | _m._ Bona di Savoia
| | +—— =Gian Galeazzo= 6th Duke of Milan, _d._ 1495
| | | _m._ Isabella of Aragon
| | | +—— Francesco Conte di Pavia
| | | +—— Bona
| | | _m._ Sigismond of Poland
| | +—— Ermes
| | +—— Bianca Maria
| | | _m._ Emperor Maximilian
| | +—— Anna
| | | _m._ Alfonso d’Este
| | +—— Alessandro (illegitimate)
| | +—— Carlo (illegitimate)
| | | +—— Ippolita
| | | _m._ Alessandro Bentivoglio
| | +—— Caterina (illegitimate) Lady of Forlì
| +—— Sforza Duke of Bari, _d._ 1479
| +—— Filippo
| +—— =Lodovico il Moro= 7th Duke of Milan, _d._ 1508
| | _m._ Beatrice d’Este
| | +—— =Massimiliano= 8th Duke of Milan, _abd._ 1515
| | +—— =Francesco II.= 9th Duke of Milan, _d._ 1535
| | | _m._ Cristina of Sweden
| | +—— Cesare (illegitimate)
| | +—— Gian Paolo (illegitimate), _d._ 1535
| | +—— Bianca (illegitimate), _d._ 1496
| | _m._ Galeazzo di San Severino
| +—— Ascanio Cardinal
| +—— Ottaviano, _d._ 1477
| +—— Ippolita
| | _m._ Alfonso of Aragon
| +—— Tristano (illegitimate)
| | _m._ Beatrice d’Este (the elder)
| +—— Drusiana (illegitimate)
| _m._ Giacopo Piccinino
+—— Alessandro Lord of Pesaro
| +—— Constanzo
| +—— Giovanni
| _m._ Lucrezia Borgia
+—— Bosio Conte di Santa Fiora
| +—— Francesco
+—— Corrado
+—— Giovanni
APPENDIX
TRAM ROUTES, ETC.
The following is a list of the trams and ways to the various places of
interest. The trams start from the Duomo.
St. Ambrogio (p. 256), _San Vittore_ tram.
Palazzo di Brera (p. 335) and S. Marco (p. 296) (street on right),
_Porta Volta_ tram.
S. Lorenzo (p. 278), Colonne di S. Lorenzo (p. 278) and St. Eustorgio
(p. 284), _Porta Ticinese_ tram.
Monastero Maggiore (p. 320) and S. Maria delle Grazie (p. 310), _Porta
Magenta_ (_Maddalena_) tram.
S. Simpliciano (p. 295) and S. Maria Incoronata (p. 305), _Corso
Garibaldi_ tram.
S. Pietro in Gessate (p. 306), _Porta Vittoria_ tram.
S. Maria della Passione (p. 326). _Piazza Monforte_ tram is the nearest.
Alighting at _Via S. Damiano_, you pass by the garden of Pal. Visconti
di Modrone (p. 334) on the way to the church.
Ospedale Maggiore (p. 308), _Porta Romana_ tram. Alight at _S. Nazaro_.
S. Celso (p. 293) and S. Maria presso S. Celso (p. 327), _Porta
Lodovica_ tram.
S. Babila (p. 294) and Pal. Silvestri (p. 328), _Porta Venezia_ tram.
Museo Poldi-Pezzoli in Via Morone (p. 352) is quickly reached on foot
from the Duomo by _Corso Vittoria Emanuele_ and _Via S. Paolo_.
S. Satiro (p. 318), in _Via Torino_, is two or three minutes on foot
from the Duomo.
Biblioteca Ambrosiana (p. 359) and S. Sepolcro (p. 295) are also quickly
reached by _Via Torino_ and _Via Spadari_ (on right).
Pal. Borromeo (pp. 302 and 365) is reached from _Piazza Cordusio_ by
_Via del Bocchetto_.
The Castello (p. 368) is a few minutes’ walk by Via Mercanti (Pal. della
Ragione (p. 296) and Piazza dei Mercanti on the left) and Via Dante.
Many trams go in that direction from the Duomo or Piazza Cordusio.
There are frequent trains from the Stazione Centrale for the Certosa of
Pavia (30 to 40 min.), Chiaravalle (11 min.) and Monza (15 min.). Monza
may also be tediously reached by steam-tram from the Duomo.
INDEX
A
Adelmano, 18
Adeodatus, 11
Agostino di Duccio, 385
_Albero_, the, 244
Albertinelli, Mariotto, 355
Alessi, Gal., 330
Alexander II., Pope, 30, 32, 33
—— VI., Pope, 168, 179, 187
Alypius, 11
Amadeo, Gio. Ant., 213, 214, 231, 245, 250, 385, 386
——, _Guglia di_, 250
Ambrogio da Fossano (_see_ Borgognone)
Ambrose, St., 8;
elected Bishop of Milan, 9;
contention with Empress, 9-12;
triumph over Theodosius, 12;
power in the Empire, 13;
death, 13, 256, 259, 273
Angilberto, Archbishop, 16, 259
Anguissola, Sophonisba, 357
Annovello da Imbonate, 275
Anselmo da Baggio, 29-32 (_see_ also Alexander II.)
Ansperto, Archbishop, 16, 17, 259, 274
Antelami, Benedetto, 298
Antonello da Messina, 366, 389
Appiani, Andrea, 335
Aragon, Alfonso of, King of Naples, 124, 127;
Alfonso of, Duke of Calabria, 134, 170;
Ferdinand, or Ferrante, King of Naples, 140, 170, 173;
Isabella of, 158, 167, 168, 173
Arialdo, 30, 31, 33
Ariberto, Archbishop, 18-25
Averulino, Ant. (_see_ Filarete)
Augustine, St., 10, 11
Ausonius, 7
Auxentius, 8
B
Bambaia, il, 214, 215, 234, 240, 243, 245, 386
Bandello, Fra Matteo, 201, 317, 324
Barbavara, Francesco, 117
Barnabas, St., 7
Bartolommeo Veneto, 336
Bassano, il, 389
Bassi, Martino, 279
Beatrice, Empress, 50, 51, 55
Bellincione, Bernardo, 161
Bellini, Gentile, 339
——, Gian, 341, 367
Bembo, Bonifazio, 215, 384
——, Pietro, 359
Bentivoglio, Alessandra, 323, 326
——, Alessandro, 320
Bernard, St., 35
Bernardino da Corte, 182, 183, 379
Bertolino da Novara, 229
Biblioteca Ambrosiana, 359-65
—— Pinacoteca, 361-365
Museo Settala, 361
Bicocca, La, battle of, 193
Boltraffio, 221, 325, 345, 346, 358, 365, 366, 389
Bonaparte, Napoleon, 225;
statue of, 335
Bonifazio Veronese, 339
Bonsignore, 357
Bordone, Paris, 327, 338
Borgia, Lucrezia, 359
Borgognone, 218, 219, 273, 274, 275, 295, 325, 327, 336, 344, 345, 388
Borromeo, Carlo, Cardinal and Saint, 39, 205-207, 215, 231, 247;
tomb of, 241
——, Federigo, Cardinal, 215, 359
Botticelli, 353, 362
Bourbon, Constable de, 193, 194, 196
Bramante, 156, 162, 211, 231, 276, 277, 313, 318-320, 350, 378, 391
Bramantino, 220, 290, 336, 344, 346, 358, 365, 387
_Brera, Biblioteca, di_, 335
——, _Pinacoteca, di_, 335-51
Briosco, Benedetto, 212, 213, 214, 288
——, Francesco, 294
Brunelleschi, 121, 211
Burigozzo, 199, 200, 203, 205
Busca, Gabrio, 215
Bussolari, Fra Giacomo de, 101
Busti, Agostino (_see_ Bambaia, il)
Buttinone, Bernardo, 218, 307, 343, 388
C
Caiazzo, Conte di, 181
Cambrai, Peace of, 197
Camelli, Ant. (il Pistoia), 161, 171, 173
Campi, the, 223;
Giulio, 346;
Vincenzo, 346
Campione, Masters of, 210, 245, 383, 384
——, Bonino da, 229, 383, 384
——, Giacomo da, 241, 244
——, Maffiolo da, 229
——, Marco da, 229
——, Zeno da, 229
Campo Fregoso, Ant. di, 161
Canaletto, 343
Cane, Facino, 117, 118
Canova, 335
Caponi, Rafaello, 353
Caradosso, 162, 216, 319, 320
Cariani, 338, 357, 389
Carmagnola, 120, 122, 328
Carpaccio, 339
_Castle of Milan_, 119, 127, 130, 145, 150, 182, 183, 185, 191, 192,
196, 368-382;
Art Collections in, 382-391
Castruccio, 91
Catharists, the, 28, 29
Cazzaniga, the, 214, 288, 312
Cazzaniga, Tommaso da, 234, 385
Cellant, Contessa di, 324
Cesare da Sesto, 221, 344
Charlemagne, 15
Charles the Bald, 17
—— of Bohemia, 100
—— VIII. of France, 170, 172, 173, 175, 179
—— V., Emperor, 193, 195, 196, 197, 198, 203
Chrysoloras, Emanuel, 112
Cima, 339, 343
Civerchio, 343
Clement VI., Pope, 97
—— VII., Pope, 195, 197
Conrad the Salic, Emperor, 19, 20, 21, 22
Constance, Peace of, 55
Constance of Sicily, 55, 257
Constantine, Emperor, 5, 7
Conti, Bernardino dei, 221, 222, 365
Correggio (Antonio Allegri), 348, 367, 389
Cortenuova, Battle of, 59
Cossa, Francesco, 348
Costa, Lorenzo, 348
Crespi, Daniele, 223
Cristina of Sweden, 203
Crivelli, Carlo, 341, 342, 343, 357, 389
——, Lucrezia, 160
D
Dal Verme, Jacopo, 110, 122
D’Amboise, Charles, 190
Decembrio, Pier Candido, 121, 265
De Foix, Gaston, 190, 244;
statue of, 386
De Lautrec, Sieur, 193
De Leyva, 196, 197
De Predis, Ambrogio, 219, 220, 346, 358
Desio, battle of, 75
Diocletian, Emperor, 5, 6
Dolcebuono, Gio., 212, 214, 231, 320, 327
Dosso Dossi, 347
_Duomo_, the, 11, 199, 112, 324-253
E
Enzo, King of Sardinia, 60
Erlembaldo da Cotta, 32, 33, 34
Este, da, Beatrice (Visconte), 77, 78
——, Beatrice (wife of Tristan Sforza), 149
——, Beatrice (wife of Lodovico il Moro), 158, 162, 163, 164, 165, 167,
173, 176, 177, 178, 374, 377, 378;
Niccolò III., 125
Eugenius IV., Pope, 124
Eusebio di San Giorgio, 350
Eustachio, Filippo, 150
Eustorgio, St., 284
Ezzelino da Romano, 67, 69
F
Fancelli, Luca, 231
Fernach, Hans von, 241
Ferrari, Gaudenzio, 222, 274, 312, 327, 337, 344, 346, 365
——, Defendente, 343
Fiesca, Elisabetta della, 96
Filarete, 211, 308, 370
Filelfo, 133, 136
Fogolino Marco, 357
Foppa, Ambrogio (_see_ Caradosso)
——, Vincenzo, 217, 218, 292, 336, 345, 358, 388, 390
Francesco di Giorgio, 231
Francia, 348
Francis I. of France, 192, 194, 195, 197, 380
Frederick I., Barbarossa, 45, 46, 47, 48, 49;
orders destruction of Milan, 50, 51, 52, 53;
defeated at Legnano, 54, 55, 56
Frederick II., Emperor, 56, 59, 60
Fusina, Andrea, 215, 234, 306, 386
G
Gadio, Bart., 140, 370
Gallerani, Cecilia, 160, 164, 201, 328
Gentile da Fabriano, 351
Gervasio, S., 7, 11, 256, 259, 273
Gianpietrino, 221, 295, 344, 358, 365, 388
Giovanni di Balduccio, 210, 290, 292, 293
—— da Milano, 216
—— da Murano, 343
Gmünd, Heinrich von, 236
Grassi, dei, the, 229; Porrino, 241
Gregorio da Montelungo, 60
Gregory VII., Pope, 26, 34, 35, 42
Guardi, 343
Guido, Archbishop, 29, 30, 31, 32, 33, 34
Guitelmo, Mastro, 50
H
Hawkwood, Sir John, 101, 102
Henry III., Emperor, 24, 29
—— VI., King of the Romans, 55, 257
—— VII., Emperor, 80, 81, 82, 83, 84, 85, 258
Hildebrand, 26, 30, 31, 32 (_see_ also Gregory VII.)
I
Isacco da Imbonate, 243, 244
J
Jacopino da Tradate, 211, 243
Julius, II., Pope, 187, 190, 191, 283
Justina, Empress, 8, 9, 11
L
Lampugnano, Gio. Ant., 143, 145, 146
Lando, Count, 100
Landolfo da Cotta, 30
Lanino, Bernardino, 223, 274, 337
Lanzone, 24, 25
Legnano, Battle of, 54, 55
Leo X. Pope, 193
Leonardo da Vinci, 154, 156, 158, 159, 160, 162, 179, 211, 214, 219,
231, 313, 315, 316, 317, 318, 374, 378, 380
Leone da Perego, Fra, 41, 60, 66, 67, 68
Leoni, Leone, 240, 333
Liberale da Verona, 339
Licinio, Bernardino, 389
Liprando di San Paolo, 33
_Loggia degli Osii_, 298, 299
Lombard League, the, 53, 54, 56
Lotto, Lorenzo, 340, 357, 366, 367, 389, 390
Louis of Bavaria, Emperor, 89, 90, 91
—— XII. of France, claim on Milan, 171, 179;
invades the Duchy, 181;
enters Milan, 183, 191, 283, 328, 380
Luini, Bernardino, 222, 304, 312, 313, 320, 323, 324, 327, 337, 345,
358, 361, 366, 388
M
Maestro di San Tommaso, 385
Maino, Agnese del, 121, 133
Mantegazza, Cristoforo and Antonio, 212, 213, 385
Mantegna, Andrea, 341, 342, 356, 366
Marco d’ Oggiono, 221, 222, 337, 346
Margaret of Brabant, Empress, 258
Marliano, Vincenzo, 119, 369
Matteo da Civate, 216
Maximian, Emperor, 5, 7
Maximilian, Emperor, 158, 169, 181
Mazzola, Filippo, 365
Medici, Cosimo dei, 134;
Lorenzo dei, 140, 153, 170;
Piero dei, 170, 174
Melegnano (Marignano), Battle of, 192
Melzi, Francesco, 221, 222
Merula, Giorgio, 328
Michelino da Besozzo, 217, 240, 304
Michelozzo, Michele, 211, 285, 291, 292
Mignot, Jean, 229
Monica, St., 10
Montagna, Bart., 338
Montana, Cola, 143
Montorfano, Gio., 306, 317, 318, 384
Moretto, 327, 338, 388
Morone, Domenico, 367
——, Girolamo, 192, 195
Moroni, G. B., 338, 389
N
Naples, King of (_see_ Aragon)
_Naviglio_, the, 154, 284
Niccolò da Correggio, 162
—— Foligno, 351, 356
Novara, Battle of, 186;
defeat of the French at, 192
O
Oberto da Pellavicino, 68, 75
Oldrado da Tresseno, 298
Olgiati, Girolamo, 143, 144, 145, 146
Orleans, Duke of, 116
Orombello, Michele, 120
Orsenigo, Simone, 229
_Ospedale Maggiore_, 308, 309
Ossona, Gio., 128
Otho the Great, 18, 257
Ottobello da Mandello, 60
P
Pacchiarotti, 350
Pallavicino, Gio. Francesco, 150
——, Antonio Maria, 180
_Palazzo Arcivescovile_, 255, 333
—— _Borromeo_, 302, 303, 304
—— _Carmagnola_, 328
—— _Castani_, 329
—— _Chierici_, 333
—— _Dal Verme_, 330
—— _dei Giurisconsulti_, 333
—— _della Ragione_, 296, 297, 298, 300, 301
—— _Fontana, or Silvestri_, 328
—— _Marino_, 330
—— _Omenoni_, 333
—— _Ponti_, 329
—— _Vimercati, doorway of_, 307
—— _Visconti di Modrone_, 33
Palissy, Sieur de, 190, 191
Palma Vecchio, 338
Palmezzano, Marco 349, 356
Patarini, the, 28, 29, 30, 31, 32, 33, 34.
Pellegrini, Pellegrino, 236, 240, 241, 255, 327
Perugino, Pietro, 156, 356
Pescara, Marquis of, 194, 195, 196
Pesellino, Francesco, 355
Peter Damian, 31, 32
Peter of Verona (Peter Martyr), 40, 41, 66, 67, 287;
monument of, 292, 293
Petrarca, Francesco, 103, 105, 106
Piazza of Lodi, the, 223;
Callisto, 335
—— _dei Mercanti_, 297, 298, 299, 300, 301
—— _Cordusio_, 297
—— _Verzieri_, 309
Piccinino, Niccolò, 123, 124, 125, 126, 243
——, Francesco, 126, 128, 243
——, Jacopo, 126, 128, 134
Piero di Cosimo, 366
—— dei Franceschi, 350, 356
Pinturicchio, 366
Pius IV., Pope, 206
_Poldi-Pezzoli, Museo_, 352-359
Pordenone, Ant., 367, 389
Porta, della, Gian Giacomo, 215
_Porta Nuova_, 301
—— _Ticinese_, 280, 283
Proccacini, 241
Protasio, St., 7, 11, 256, 259, 273
Pusterla, della, Francesco, 95;
Margherita, 96;
Pietro, 202
R
Raphael, 349, 362, 363
Ravenna, Battle of, 190
Riario, Card. Pietro, 371
Ricchini, 280
Rizzo, Antonio, 234
Roberti, Ercole dei, 348
Romano, Gian Cristoforo, 163
Rondinelli, 349
Rosa, Salvator, 351
S
Salai, 221, 222
San Secondo, Jacopo di, 163
San Severino, Roberto di, 148, 151
——, Galeazzo di, 162, 163, 180, 181, 184, 186, 195, 380
——, Gaspare di (Fracasso), 180
Sano di Pietro, 366
_St. Alessandro_, 328
_St. Ambrogio, Basilica of_, 55, 110, 199, 256-277
——, _Golden Altar in_, 268-271
——, _Canonica of_, 276, 277
_St. Antonio, Campanile of_, 302
_S. Babila_, 294
_S. Calimero_, 294
_S. Carlo_, 328
_S. Celso_, 293;
_Sta. Maria di S. Celso_, 293, 327
_St. Eustorgio_, 284-293;
_Capella Portinari_, 285, 286, 291-293
_S. Fedele_, 327
_S. Giovanni alla Conca_, 294
_S. Gottardo_, 11, 253, 254
_S. Lorenzo_, 278-280;
_Columns of_, 278
_S. Marco_, 296
_Sta. Maria a Beltrade_, 295
_Sta. Maria del Carmine_, 304
_Sta. Maria delle Grazie_, 310-313
——, _Refectory of_, 313-318
——, _Last Supper, by Leonardo_, 313-317
_Sta. Maria della Passione_, 326, 327
_Sta. Maria Incoronata_, 305
_S. Maurizio, or Monastero Maggiore_, 320, 323-326
_S. Nazaro_, 294
_S. Pietro in Gessate_, 306, 307
_S. Satiro_, 295, 318-320
_S. Sepolcro_, 295
_S. Simpliciano_, 295
_S. Stefano_, 309
_S. Vincenzo in Prato_, 293
Santi, Gio., 351, 358
Savoldo Girolamo, 338
Savoy, Bianca of, 103
——, Bona of, 137, 139, 148, 149, 150, 151;
Maria of, 121, 128
Scala, della, Can Grande, 89, 90
Regina, 102, 103
Scarampi, Camilla, 201
Seregni, Vincenzo, 215, 333
Sforza, Anna, 158
——, Ascanio, Cardinal, 148, 168, 184, 185
——, Bianca, 363
——, Bianca Maria, 158
——, Caterina, 136
——, Constanzo, 151
——, Francesco I., 122;
is engaged as Condottiere by Duke Filippo, 123;
betrothed to Bianca Maria 124;
abandons Milan for Venice, 124, 125;
wins Bianca Maria, 125;
is again fighting against Milan, 126, 127;
defeats Piccinini and besieges Milan, 128;
is received into city and proclaimed Duke, 129;
his character, 130, 131;
his encouragement of learning and art, 132, 133;
wars and foreign policy, 134;
dies, 135, 288;
his building of the Castle, 369, 370, 371
——, Francesco II., 192, 193, 194, 195, 196, 198, 203, 204
——, Galeazzo Maria, 134;
character, 135, 136, 137, 138;
vices and virtues, 139;
ability, policy, 140, 142, 143, 144;
assassination, 145, 146, 147, 258, 371, 372, 373
——, Gian Galeazzo, 147, 150, 158, 166, 167, 168, 170, 173, 174
——, Gian Paolo, 204
——, Ippolita (Bentivoglio), 201, 323, 326
——, Lodovico il Moro, 134;
banished, 148;
his intrigues and return, 149;
overthrows Simonetta, 150;
makes himself regent, 151;
his personality, 152;
foreign policy, 153;
improvement of the State, 154, 155;
patronage of art and letters, 156;
mildness, 157;
his brilliant Court, 158, 159;
relations with Leonardo, 159, 160, 161, 162, 163, 165;
instability of his position, 166;
schemes to become Duke, 167, 168, 169;
invites Charles VIII., 170, 171, 172, 173;
is suspected of poisoning his nephew, 174;
leagues against France, 175;
his triumph and arrogance, 176;
is crushed by death of his wife, 177, 178;
his anxieties and difficulties, 179, 180;
is invaded by French, 181;
abandons Milan, 182, 183;
returns, 184;
his indecision and difficulties, 185;
is captured by the French at Novara, 186, 187, 276, 373, 374, 377,
378, 379
——, Massimiliano, is made Duke, 191;
renounces Duchy to Francis I., 193, 380
——, Ottaviano, 148
——, Duke of Bari, 148, 149
Sicherius, 45, 46
Siciliano, Angelo, 215, 244
Signorelli, Luca, 350, 351
Simonetta, Cecco, 140, 147, 148, 149, 150
Sion, Cardinal de, 190, 191
Sixtus IV., Pope, 147, 153
Sodoma, Gio. Ant. Bazzi, il, 223, 345, 389
Solari, or Solario, Andrea, 220, 221, 345, 357, 358;
Cristoforo (il Gobbo), 212, 214, 215, 231, 234, 236, 241, 245, 253,
326, 327;
Guiniforte, 211, 306, 308;
Pietro, 211, 285
Spanzotto, Fra Vincenzo, 313
Stefano dei Fedeli, 217, 384
—— da Pandino, 243, 245
—— da Zevio, 356
T
Tanzi, Francesco, 161
Tassino, Antonio, 149, 150, 151
Tenda, Beatrice, 118, 120
Theodosius, Emperor, 12, 13
Tiepolo, Pietro, 59
——, G. B., 333, 353
Tintoretto, 338, 389
Titian, 339
Torre, della, or Torriani, the, 65
——, Cassone, Archbishop of Milan, 80, 82, 83
——, Enrico, 79
——, Filippo, 70, 72
——, Francesco, son of Guido, 84
——, Francesco, son of Napo, 76
——, Guido, 79, 82, 83, 84
——, Martino, 66, 67, 68, 70, 72
——, Mosca, 79
——, Napo, 70;
made Imperial Vicar of Milan, 72, 75;
defeated and captured by Visconti at Desio, 76
——, Pagano, _the Good_, leader of the people’s faction, 66
——, Raimondo, 68
——, Simone, 84
Trivulzio, Ambrogio, 129
——, Gian Giacomo, 178;
Governor of Milan, 183, 184;
driven out, 184, 191, 192, 283, 379
——, Art Collection and Library, 366
Tura, Cosimo, 348, 356
U
Uberti, Fazio degli, 113
Umiliati, Order of the, 37, 38, 39, 206
Urban IV., Pope, 68, 69
V
Valentinian II., Emperor, 7, 9, 13
Valois, Isabella de, 102, 106
Vaprio, Battle of, 89
_Via Ticinese_, 283
_Via Torino_, No. 10-12, 330
Vimercati, Gaspare, 311
Visconti, the, 65, 69;
cognisance of, 69;
character of, 86, 87, 88, 130
——, Azzo, 90;
created Imperial Vicar, 91, 92;
tomb of, 366
——, Bernabò, 95, 96;
succeeds to Lordship of Milan, 100, 101, 102, 104, 105, 106;
his capture and death, 108,
tomb of, 383
——, Bianca Maria (Sforza), 121, 124, 125, 133, 134, 135, 138
——, Carlo, 143, 145
——, Caterina, 107, 116, 117
——, Estorre, 117, 119
——, Filippo Maria, 116, 117;
succeeds to dukedom, 118;
enters Milan, 119;
diplomacy and conquests, 119;
character and habits, 119-121;
patronage of learning, 121;
wars and intrigues, 121, 122, 123, 124;
embarrassments, 125;
death, 126
——, Francesco Bernardino, 180, 183
——, Galeazzo I., 75, 77, 78, 79, 83, 85, 87, 88;
succeeds his father as chief, 88;
rules Milan, 89;
is arrested and imprisoned by Emperor Louis, 90;
his release and death, 91
——, Galeazzo II., 95, 96;
shares Lordship of Milan with Bernabò, 100, 101, 102, 104, 105, 106,
107
——, Gaspare (poet), 161, 163
——, Gian Galeazzo, 102, 103, 107;
overthrows Bernabò and makes himself sole Lord, 108;
his military enterprises, 109, 110;
is created Duke of Milan, 110;
his government, 110, 111;
character, 111;
patronage of letters, 112, 113;
conquests, death, 114, 115;
his building of the Duomo, 227, 228, 229, 230, 258, 368
——, Giovanni, Archbishop, 92, 95, 96;
conquests, 97;
Government, 98, 99;
death, 100
——, Giovanni Maria, succeeds to Dukedom 116, 117, 118
——, Lodrisio, 89, 92
——, Luchino, 87, 89, 91, 92, 95, 96, 98, 99
——, Luchino, Novello, 96
——, Marco, 87, 91, 92
——, Matteo, _il Grande_, 75;
assumes leadership of Ghibelline party, 76, 77;
abandons Milan, 78, 79, 80, 81;
returns, 82, 83;
outwits Torriani, 84;
is created Imperial Vicar, 85, 87;
death, 88
——, Matteo (son of Stefano), 95, 96, 100
——, Otto, Archbishop, 68;
leader of Ghibelline party, 69, 75;
defeats Torriani and rules Milan, 76
——, Stefano, 90;
tomb of, 289
——, Valentina, 116
——, Violante, 102, 103
Viti, Timoteo, 351
Vivarini, Ant., 343, 356
Z
Zaganelli (Cotignola), 349
Zavatarii, the, 217
——, Franceschino, dei, 243
Zenale, Bernardino, 218, 265, 273, 307
COLSTON AND CO. LTD., PRINTERS, EDINBURGH
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TRANSCRIBER’S NOTES
1. Moved advertising from second page to end.
2. Changed ‘1446’ to ‘1466’on p. 135.
3. Changed ‘then’ to ‘than’ on p. 155.
4. Changed ‘1595’ to ‘1515’ on p. 192.
5. Changed ‘or’ to ‘on’ on p. 202.
6. The ‘55’ in ‘1355’ for the death date of Matteo was hand written on
p. 392.
7. Changed ‘„’ ditto markup to ‘——’ prefix markup in the index.
8. Silently corrected typographical errors.
9. Retained anachronistic and non-standard spellings as printed.
10. Enclosed italics font in _underscores_.
11. Enclosed bold font in =equals=.
12. Superscripts are denoted by a carat before a single superscript
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