One of Milan’s four house museums, the Poldi Pezzoli was a highlight of my two trips to the city I love so much. The variety of art exhibited made this a top attraction for me. The collections include paintings, sculpture, weapons, tapestries, furniture, glass, ceramics, watches, clocks, goldsmiths’ work and jewelry, for instance. Artists whose works are represented include Andrea Mantegna, Giovanni Bellini, Sandro Botticelli, Michelangelo Buonarroti, Canaletto, Francesco Hayez and Lucas Cranach the Elder.
I favored the medieval paintings, but each space had something extraordinary to offer. The Golden Room with its 15th century collection enamored me as did the elaborate, superb furnishings of the Dante Room. The Black Room had six masterfully crafted mahogany and walnut doors. The Lombard Room dazzled with north Italian Renaissance paintings.
The collections were amassed during the 19th century by Gian Giacomo Poldi Pezzoli, who had inherited much money. The Austrians exiled Gian Giacomo from Milan for one year after he supported the revolutionaries during a Risorgimento battle in Milan. He spent that year traveling, but then returned to Milan. Sadly, Gian Giacomo’s life was cut short in 1879, when, at the age of 57, he passed away in the palace’s Dante Study. The museum was opened to the public in 1881. During World War Two the palace was severely damaged. For example, the Neo-Gothic armory was destroyed. Many artifacts were lost. The museum underwent much restoration, not opening its doors again until 1951. The new armory opened much later, in 2000.
Numerous artworks enthralled me, but I would like to concentrate on several of the many that were remarkable. Some paintings that caught my undivided attention included Sandra Botticelli’s The Virgin and Child (the Madonna of the Book), dating from 1482-83. Showing the Virgin and Child reading, the painting reminded me of how important reading and literature have been in my life. The scene had a mystical appearance due to the superb lighting. I could understand how the act of reading has a sort of mystical power. The painting also exuded elegance.
Another religious rendition that left me in awe was The Madonna of Humility with Musician Angels by Zanobi Strozzi, hailing from 1448 to 1450. In this painting the Christ Child is seated on the Virgin’s lap as I can almost hear the musicians playing a sorrowful tune. Strozzi masterfully portrayed the texture of the clothing, such as Virgin’s red garment with its green lining and blue mantle. I felt as if I could touch the fabric of the veil on the Virgin’s head as it was also superbly rendered. The background was dominated by a stunning gold material.
My admiration of medieval art in the Poldi Pezzoli continued as I became enthralled with Filippo Lippi’s The Pieta (1440) in which the Virgin and Saint John the Evangelist hold up the limp Christ figure who has a gray complexion reminiscent of death. In the distance I saw a mountainous landscape.
Antonio Vivarini and his brother-in-law Giovanni D’Alemagna captivated me with their work, The Virgin and Child Enthroned with Two Angels. In this painting, perhaps part of a polyptych, the Madonna and Child’s throne is pleasantly situated in a garden, giving off a tranquil vibe. The late Gothic and Renaissance features of the throne, figures and landscape were striking.
A sculpture that particularly caught my attention was labelled The Virgin and Child, a Florentine masterpiece from 1280 with many Byzantine elements. While Jesus’ body parts aren’t all proportional, the two figures are nevertheless masterfully sculpted.
I was also enthusiastic about the tapestries. For instance, I saw the Tapestry with Esther Presented to Ahasuerus, made in Brussels in the late 15th and early 16th century. The stunning fabrics included wool, silk, silver and gold. One of the most significant Flemish tapestries in Italy, the masterful work takes its theme from the Old Testament. I noted the characters’ luxurious costumes, especially the king’s extravagant hat. The variety of colors also caught my attention.
I also admired the Canaletto landscapes of Padua and Venice with all the architectural features of the cities. Looking at Canaletto’s works gave me a sense of Italian history as if I could go back in time and look deep into the painting as a witness of the scene portrayed. I fondly recalled the extensive exhibition of Canaletto’s work I had seen in Aux-en-Provence a number of years ago.
The armory, refurbished in 2000, included many 16th century weapons, such as a Borromeo helmet from the 16th century. Its exquisite gilded decoration was made up of designs of a unicorn and Saint Justine. The Gonzaga Helmet, also from the 16th century, was also gilded and showed off adornment of a crescent moon, leaves and flowers. I loved the meticulousness and precision of the designs.
I admired the many stunning pieces of furniture, including the cabinets. One cabinet from the mid-17th century was made of ebony, bronze, silver and semi-precious stones. The small drawers were exquisitely decorated.
My favorite piece of porcelain was a Meissen called The Tooth-Puller from 1750. The woman looked terrified as the evil man held her jaw in an almost violent manner. The facial expressions of terror and evil were well-crafted. I liked the use of the color purple in the designs: the wig-clad tooth-puller was dressed in purple, and the woman wore a purple jacket. Her white skirt was decorated with a purple floral design. The collection included over 80 European porcelain pieces from the 18th century.
I also admired the decorations on the watches hailing from the 16th to 18th centuries and the various designs of the many clocks and sundials. The jewelry and Murano glassware also captured my undivided attention.
This museum housed such a wide array of stunning artifacts in an intimate setting. I loved the house museums in Milan, and visiting the Poldi Pezzoli was certainly one of my most treasured memories of the Italian city that I hold so dear to my heart.
Tracy A. Burns is a writer, proofreader and editor in Prague.
This past year’s travels included two trips to Italy, one to my beloved Milan and environs and the other to the Amalfi Coast, somewhere I have dreamed of going for many years. I also spent time visiting sights in the Czech Republic, such as Zbiroh and Karlova Koruna chateaus and the towns of Kutná hora and Hradec Králové. I also dined in the traditional Czech pub Hájenka in Kersko. I flew to northern Virginia to see my parents for two weeks in March and had a great time with them as well as with four friends. In Washington, D.C., I visited the National Portrait Gallery and Museum of American Art.
From Petr Brandl Exhibition
I saw many thrilling art exhibitions, including ones focused on the Baroque art of Petr Brandl and the Art Nouveau works of Alphonse Mucha. Karel Teige, Czech avant-garde artist best known for his interwar works, was the focus of an exhibition at the Museum of Czech Literature, which I visited for the first time in 2023.
Campari Tomb at Monumental Cemetery in Milan
My May trip to Italy last year saw me back in Milan, which I had visited for the first time the previous year. I went to several sights I had not seen before. I toured Milan’s Monumental Cemetery to see the architectural gems of tombstones in various styles from the 18th century to contemporary. A colossal sculptural grouping of Da Vinci’s The Last Supper, made for the Campari family, was my favorite. I also saw a structure resembling the Tower of Babel and another looking like Trajan’s Column. An Egyptian pyramid shape made up another monument. Another artistic delight was Italian artist Lucio Fontana’s design of a modern angel. The sculptural decoration throughout the cemetery was astounding.
At National Museum of Science and Technology Leonardo da Vinci in Milan
I also visited the National Museum of Science and Technology Leonardo da Vinci, where I was enamored by the 170 models of Da Vinci’s drawings of buildings, machines and weaponry. I also loved the hangars featuring planes, ships and trains. A Vega Launcher hailed from 2012. A submarine also stood outside.
Paintings lined the walls at the House Museum of Boschi Da Stefano in Milan.
The House Museum of Boschi Da Stefano, located in a posh apartment outside the city center, featured 300 works of 20th century art, mostly paintings but also drawings, furniture and sculpture. Most pieces hailed from 1900 to 1960. The walls were covered with art from top to bottom. Some artists represented were Fontana, Giorgio De Chirico, Pablo Picasso and Amadeo Modigliani.
Navigli section of Milan
I also visited the Navigli district of Milan, where two picturesque streets flanked a canal, making for a picturesque setting. The Navigli is dotted with outdoor cafes and stores, including a few intriguing bookshops.
Basilica of Saint Anastasia, Verona
I spent time outside of Milan, too. I traveled to Verona for the second time. I marveled at the Basilica of Saint Anastasia, the largest church in the city as well as the cathedral and three museums – the Castelvecchio Museum, the modern art museum and the House Museum Palace Maffei – my favorite. The Basilica of Saint Anastasia was built in the 13th century and boasted a Late Gothic façade. The main altar was made from light yellow marble while one chapel housed a famous 15th century fresco. Red and white marble columns decorated the interior. The Pelligrini Chapel included a fresco from the 14th and 15th century as well as intriguing sculpture. A fresco at the left transept had been rendered by a disciple of Giotto. A rudder of a 16th century ship added to the splendid interior decoration.
Verona, House Museum Palace Maffei
Verona, House Museum Palace Maffei
However, it was the House Museum Palace Maffei that captured my heart. Half of the Palace Maffei was designed as a luxurious home punctuated by art from various eras ranging from the 14th century to modern day. The other half was a 20th century art gallery, featuring works by Picasso, Duchamp, De Chirico, Warhol, Ernst, Modigliani, Fontana and others. Paintings, sculpture, drawings, engravings, pottery, bronzes, frescoes and furniture of both Italian and foreign origin dazzled my mind.
In the Castelvecchio Museum, Verona
The Castelvecchio Museum, established in the 14th century, included 30 halls of Italian and European painting and sculpture from the Romanesque days to the 1700s. Not only did I see many paintings but also ancient weapons, ceramics, gold objects and more. The exterior featured panoramic views of the romantic city.
A romantic lane in Bellagio
My other day trip was to Lake Como, where I visited picturesque Como, Bellagio and Mennagio. Unfortunately, it rained all day, but I still had a great time. I also saw the exterior of some noteworthy villas, such as Richard Branson’s waterfront home, the Villa Carlotta and a villa where some episodes of Succession had been filmed. I saw a hotel where Greta Garbo had acted, too. The Villa Olmo in Como had a neoclassical exterior and stunning lake views. Bellagio featured steep, cobblestoned lanes and the Romanesque Basilica of San Giacomo. Mennagio was home to several intriguing churches and had a picturesque lakefront square.
House Museum Bagatti Valsecchi, Milan
House Museum Poldi Pezzoli, Milan
In Milan I also visited beloved sights that I had first seen the previous year. I returned to the House Museum Bagatti Valsecchi with its Renaissance and Neo-Renaissance art and to the House Museum Poldi Pezzoli with its art of various eras, such as medieval triptychs, ceramics, historical pocket watches and other time pieces.
Gallery of Modern Art, Milan
Gallery of Modern Art, Milan
I visited the second floor of the Gallery of Modern Art with its Grassi and Vismara Collections. The Grassi Collection featured both Italian and foreign works ranging from the 14th century to contemporary times. Oriental art was displayed, too. The Vismara Collection concentrated on 20th century masterpieces. On that floor I saw impressive art by Manet, Picasso, Gauguin, Renoir, Van Gogh and Cezanne. Toulouse Lautrec was well-represented, too.
Museum of the Risorgimento, Milan
Brera Art Gallery, Milan, Work of Andrea Mantegna
The Museum of Risorgimento remains another of my favorites with its painting, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870. The Brera Art Gallery was another highlight, as I gawked at the Italian art from the 13th to 20th century as well as at the foreign works in the 38 vast halls. I loved the paintings from the Netherlands, including those by Peter Paul Rubens and Jacob Jordaens. Other Brera-represented artists dear to my heart included Francesco Hayez, Andrea Montegna, Tintoretto and Caravaggio. I even visited an exhibition of ancient manuscripts in the historical Baroque library. Once again, I was amazed by the 16th century frescoes by Bernardino Luini, his brothers and his son in the Renaissance Church of San Maurizio in downtown Milan.
Sorrento, Nativity Scene, Cathedral of Saints Filippo and Giacomo
During my trip with arsviva travel agency to the Amalfi Coast in June, I fell in love with Sorrento. The streets were picturesque, and the Cathedral of Saints Filippo and Giacomo was Romanesque with a Neo-Gothic façade. Three lunettes showed off beautiful frescoes while a rose window also astounded. Inside, the Latin cross interior boasted three naves with 14 pilasters. The pulpit, hailing from the 16th century, had Doric columns. Stunning frescoes on the cupola, intarsia adornment and a Baroque ceiling were other remarkable elements. The Chapel of Nativity displayed a Neapolitan Nativity scene from the 17th century.
Correale Museum, Sorrento
Museum of Intarsia, Sorrento
The Correale Museum served as a provincial art gallery, and I was enthralled by the 17th and 18th century Italian landscapes, especially those of Castellammare di Stabia, where we were staying. Greek and Roman fragments, historical furniture, clocks, ceramics and porcelain were also on display. The waterfront boasted spectacular views of the sea, which were very soothing. The highlight of my visit to Sorrento was the Museum of Intarsia, with everything from music stands to large beds showing off intarsia decoration by local artists. Some historical paintings were also on display. Downstairs, I saw the innovative, avantgarde designs of contemporary intarsia artwork.
Pompei
I also visited Pompei for a second time. Even though the day was scorching hot, I enjoyed seeing the small and big theatre, the basilica and three temples, especially the one named after Apollo with its 48 Ionic columns. The amphitheatre with a capacity of 20,000 spectators also caught my undivided attention. The wall paintings and mosaic floors of what had been luxurious homes were sights to behold as well.
Ravello, pulpit in cathedral
We moved to a nice hotel in the picturesque, tranquil town of Maiori, where I could spend time in a café or restaurant overlooking the beach or savor homemade ice cream. The town that had made it on UNESCO’s list during 1997 was a perfect place to relax after a busy day out. Before arriving at our hotel in Maiori, we saw Ravello’s Romanesque Cathedral of Saint Maria Assunta and Saint Panteleone, hailing from the 11th century. I admired the 12th century bronze doors and remarkable 13th century Pulpit of Gospels adorned with mosaics. One 16th century chapel contained an phial of blood of Saint Panteleone. The views of the sea from the hilly town were spectacular, too. Numerous famous guests, from Richard Wagner to Virginia Woolf and Greta Garbo, had graced the streets of this town.
Ravello Cathedral, bronze doors of central portal
Positano, a UNESCO-listed tourist site since 1997, was a picturesque hillside town, but, unfortunately, during this past June, it was much too crowded to enjoy. I did peek into the church, though. Its main altar showed off a Byzantine icon from the 13th century. The views of the sea were fabulous.
Cathedral of Saint Andrew, Amalfi
Cathedral of Saint Andrew, Amalfi
Another highlight of my trip was visiting the Cathedral of Saint Andrew in Amalfi, which was founded in the ninth century AD and boasted a 13th century Arab-Norman exterior with Italian Neo-Gothic elements. The mosaic adornment in the tympanum is stunning. Sixty-two steep steps led to the bronze doors of the central portal that hailed from Constantinople, made in the 11th century. A cloister included some intriguing fragments of wall paintings while the interior had Baroque features along with Gothic and Renaissance chapels. The Basilica of the Crucifix harkened back to the ninth century and served as a museum of sacral objects, including sculpture and vestments. The crypt, where the relics of Saint Andrew were held, was stunning with much ceiling and wall decoration.
Paper Museum at paper mill, Amalfi
I also was enamored with the still functioning paper mill at the Paper Museum. The Pope used paper made in Amalfi, which held the distinction of being the oldest paper manufacturer in Europe. The machines and the processes of making and drying the paper were enthralling.
Cathedral of Saint Matthew, Salerno
Salerno was a pleasant surprise. The Romanesque Cathedral of Saint Matthew hailed from the 11th century. The tower was a mixture of Byzantine and Norman styles. The central bronze door was made in Constantinople. Two Byzantine mosaic-decorated pulpits with intricate intarsia amazed in the once Romanesque interior that had been mostly transformed into Baroque style. Mosaics throughout the cathedral were stunning. Frescoes in the treasury chapels were accompanied by a silver statue of Pope Gregory VII. The Late Mannerist ceiling and wall frescoes in the crypt were remarkable, hailing from the middle of the 17th century. A reliquary of Saint Matthew’s arm was on display, too.
Diocese Museum, Salerno
I also visited the nearby Diocese Museum, which featured paintings, sculpture and objects from the Middle Ages to the 20th century. I was most drawn to the medieval altarpieces. The provincial picture gallery was small but included an eclectic array of intriguing works from the 15th to 18th century.
Cathedral of Saint Barbara, Kutná hora
Cathedral of Saint Barbara, Kutná hora
I took some day trips in the Czech Republic, too. We visited Kutná hora, the home of prosperous silver mines from the 13th to 15th century, during one stunning fall day. Saint Barbara’s Cathedral, with its Neo-Gothic exterior of buttresses and gargoyles, astounded me. Inside, I admired exquisite stained glass windows as well as remarkable late Gothic frescoes and a 16th century stone pulpit. The Gothic royal chapel with Art Nouveau decoration at the Italian Court was another remarkable gem.
Pub in Kersko
I visited Kersko twice this fall. I dreamed of owning a cottage in the tranquil, wooded village. I had lunch at the traditional Czech pub called Hájenka, where several films based on Bohumil Hrabal’s writings had been shot. Hrabal had lived in a cottage nearby for many years, feeding all the feral cats that would wander hungrily toward his home.
Zbiroh Chateau
I also toured the chateaus of Zbiroh and Karlova Koruna. Zbiroh, built before 1230, for decades served as a top-secret facility for the Czechoslovak army. Its representative rooms were open to the public only in 2005. The chateau boasted many Madonna statues and other sculpture of great interest as well as African masks, tapestries, Empire furnishings and copies of Leonardo da Vinci paintings. Alphonse Mucha had used the spectacular main hall as his studio early in the 20th century. A beautiful skylight, two Czech crystal chandeliers and impressive paintings adorned Mucha’s former studio.
Exterior of Karlova Koruna Chateau
Karlova Koruna Chateau, designed by Santini-Aichel and built during the 18th century, had a roof shaped as a crown. The chateau consisted of two stories in cylindrical shape with three one-floor wings. The interior featured paintings of horses, including the unique gold-colored horses that the Kinský family had bred as well as pictures of steeplechase races. One painting of a horse race was made of 12 pieces of deerskin.
Beneš Villa
We visited the former villa of Edvard Beneš, president of Czechoslovakia during the interwar years and a prominent member of the Czechoslovak governments-in-exile during the First World War. The stunning Neo-Spanish structure included the room where Beneš died, a dark landscape painting by Antonín Slavíček hanging over his single bed. The furnishings and artworks in the house were intriguing, to say the least. Beneš and his wife Hana were buried in a monumental tomb on the premises as well.
Sucharda’s Second Villa, Prague
In Prague I visited the second villa of sculptor and relief artist Stanislav Sucharda in the Bubeneč district. Jan Kotěra designed the structure with many architecturally intriguing elements. Much of the remarkable interior furnishings had been designed by Kotěra and Sucharda. I saw examples of Sucharda’s artwork as well as pieces by Edvard Munch, Auguste Rodin and many Czech artists.
Gallery of Modern Art, Hradec Králové, Work by Emil Filla
Gallery of Modern Art, Hradec Králové, Věra Jičínská, Brittany
I saw many impressive art exhibitions this year. I traveled to Hradec Králové, where I saw the Gallery of Modern Art with its impressive collection of works by 20th century artists including Bohumil Kubišta, Emil Filla, Jaroslav Róna, Ladislav Zívr, Quido Kočian and many others. The temporary exhibition of artist and writer Věra Jičínská’s works included paintings of her travels to Brittany and Paris. Her renderings of Paris showed off orange rooftops and the Eiffel Tower. She also created paintings inspired by folk art and dance. Her photography amazed me as well. Influenced by her work as a journalist, she created a painting dedicated to this genre.
Museum of East Bohemia, designed by Jan Kotěra, Hradec Králové
The museum devoted to the history of Hradec Králové was an architectural gem designed by Kotěra. I especially liked the furnishings and designs by Josef Gočár and Kotěra as well as the sculpture by Sucharda. The mock shops from the First Republic (1918-1938) were very intriguing as I could see goods that were sold during that era and feel the atmosphere of those times.
National Technical Museum, Prague
In Prague I saw the National Technical Museum for the first time. The cars, especially the 1935 Tatra 80 vehicle belonging to first Czechoslovak President Tomas G. Masaryk, fascinated me as did the motorcycles, bicycles and planes. The dining car of Habsburg Emperor Franz Joseph I, later used by President Masaryk, was also on display. I also was enamored by the architecture and engineering section and the display of old household items in another section. The TV studio, in use from 1997 to 2011, was another delight. Other areas of interest included astronomy, chemistry, printing, photography, time pieces, metallurgy and mining.
Museum of Czech Literature, book cover by Karel Teige
Another astounding sight in Prague was the newly-located Museum of Czech Literature, which moved to the Petschek Villa in Bubeneč during 2022. The displays cover literary developments from the 19th century National Revival movement through the 20th century. I came to appreciate the significance of the literary and art criticism periodical The Critical Monthly from the 1930s and 1940s as well as the symbolist and mystical paintings of Josef Váchal. I was most enamored by the avantgarde book covers designed by Karel Teige in the 1920s and 1930s. His unique typographical work in Vítězslav Nezval’s The Alphabet book was on display, too. A pantheon of great Czech 19th century artists included objects associated with the writers and their busts.
Karel Teige, Greetings from a Journey
A temporary exhibition focusing on Teige’s youth and early career from 1912 to 1925 was amazing, showing off his artwork, photographs, correspondence and more. I understood very well why this artist, writer, theoretician, critic, translator, book designer, typographer and photographer was considered the leading figure of the Czech avantgarde movement between the wars.
Trade Fair Palace, Prague, Fire by Josef Čapek
At The Trade Fair Palace in Prague, I saw the newly installed End of the Black-and-White Era permanent exhibition of art from 1939 to 2021 in chronological order. More than 300 works, mostly Czech, were displayed with historical context. Josef Čapek’s painting “Fire,” showing a fury of flames behind a woman, presents an anti-Nazi theme. The focus on urban life and factories as well as everyday life was highlighted with the works of Kamil Lhoták. The exhibition featured many works made during the Stalinization period of the 1950s with the style of social realism. Martin Slanský depicted Lenin in a snowy Prague. A model of the design of the monument to Stalin in Prague was on display, too.
Trade Fair Palace, Prague, The Dialogue by Karel Nepráš
The progressive movements of the 1960s made way for the red abstract figures of Karel Nepráš. From the late 1960s to early 1980s art as installation came to the forefront. Action art, performance and body art were often the focus of the times. The late 1980s triggered the impersonal postmodernism movement. After the 1989 Velvet Revolution that toppled the Communist regime in Czechoslovakia, individuality and quests for personal identity came to the fore. Some artists focused on the commercialization of society. This new exhibition was extensive and moving. I felt drawn into each historical period up to the present day. The works displayed well represented the movements expressed. I could see how society and culture kept changing and how art reflected those changes.
Saint Jerome by Petr Brandl
I went to many intriguing temporary exhibitions in Prague, too. I saw 64 religious works, genre paintings and portraits by Czech Baroque artist Petr Brandl. An extensive exhibition of Alphonse Mucha’s versatile works owned by his descendants included some originals never before put on display. Mucha’s ad posters, drawings, paintings, sculptures, photographs and jewelry all captured my undivided attention.
Sculpture by Janouch
I saw sculpture of athletes in motion and busts of illustrious Czechs by Petr Janouch in Prague’s Kooperativa Gallery. An earlier exhibition there featured Czech 19th and 20th century paintings involving water – puddles, lakes, waterfalls, streams, rivers and so on. I especially liked one painting by Josef Čapek showing a fisherman on a boat in a river. Landscapes with water themes by Slavíček and Antonín Hudeček also astounded.
Sculpture by Ivan Mestrovic
At the City Library Gallery I saw an exhibition of sculpture by Croatian Ivan Mestrovic (1883-1962). I had come across his art at his villa in Split during a vacation many years ago. Mestrovic, who had befriended first Czechoslovak President Masaryk and Czech sculptor Bohumil Kafka, had delved into a variety of styles, including Art Nouveau, Symbolism, Impressionism, Art Deco, Neoclassicism and late Realism, while preserving a Classical foundation. He focused on numerous themes – religious motifs, portraits and monumental works as well as studies of figures.
Olinka
However, shortly after I returned from the Amalfi Coast, I had to temporarily halt any traveling so I could be at home with Olinka, who was diagnosed with neurological issues that greatly affected her mobility. A MRI showed that she suffered from inflammation of the middle ear. A terrified Olinka spent a total of four nights in the hospital and was on antibiotics for ten weeks. Every two weeks we went to the vet so she could get her antibiotic shot.
Olinka
The first four days at home after three nights in the hospital she could hardly walk and was very disoriented. Those initial few days she stayed mostly in the bedroom closet, only appearing for food and the use of the litter box. She didn’t play with her toys for three weeks. Before her illness, I had been frustrated with Olinka because she always knocked everything off tables and the kitchen counter. Sometimes it felt like a never-ending battle. At the start of her illness, I came to appreciate even her most frustrating quirks. I just wanted her knocking everything off surfaces again, back to her old self. The broken glass on the screen of my mobile phone is proof that she is once again doing just that.
Olinka
I will never forget her first night back from the hospital. She somehow made her way onto the bed and reclined below my pillow. I rested next to her, my arms around her. We stayed like that for an hour or two, just spending time with each other, appreciating that she was alive and at home. I will always remember that feeling of relief and love more profoundly than any experience during my exciting travels.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Olinka on Christmas Eve
From Alphonse Mucha exhibition
Municipal House, Prague, Mayor’s Hall, decoration by Alphonse Mucha
I toured the Municipal House in Prague. Once again, I was captivated by its Art Nouveau interior.
This library and art gallery in Milan is named after the patron saint of the city, Ambrose. The library harkens back to 1609, when Cardinal Federico Borromeo founded it, and the same year it opened to the public.
One of Leonardo da Vinci’s drawings of the Codex Atlanticus
The biblioteca houses the Codex Atlanticus by Leonardo da Vinci as well as many of his other manuscripts plus about 12,000 drawings by European artists, ranging from the 14th to 19th century. Raphael and Pisanello are represented in this collection of drawings, too. Many of its more than a million printed volumes hail from the 16th century. There are almost 40,000 manuscripts in numerous languages, including Italian, Latin, Greek and Arabic as well as some 22,000 engravings. Ancient maps, musical manuscripts and parchments also make up the collection. Some prominent guests included poet Lord Byron and novelist Mary Shelley.
Another of Leonardo’s drawings from the Codex Atlanticus
During World War II the library was damaged, and the opera libretti for La Scala Opera House were destroyed. The building was opened again in the early 1950s after undergoing renovations. More reconstruction took place in the 1990s.
When I visited, some of Leonardo’s works for the Codex Atlanticus, the largest collection of da Vinci’s drawings and writings, were on display in the library. The exhibition left me spellbound. I perused studies in aerodynamics and drawings of mechanical wings as well as various types of weapons. Leonardo rendered a large sling to throw stones and a machine to pump water from a well inside a building, for example.
I gazed upwards after studying the drawings by Leonardo, and I was filled with awe. I don’t know if I have ever seen such an incredible library. I just wanted to stand there all day, gazing at the wall-to-wall bookcases as I wondered about the titles and contents of each volume.
Established in 1618 with the collections of Cardinal Federico Borromeo, the pinacoteca was just as impressive as the library. The 24 rooms were dominated by Renaissance artworks but also boasted of renditions by 17th century Lombard artists, 18th century painters and 19th and early 20th century creators. I was especially struck by da Vinci’s 15th century “Portrait of a Musician” as it was the only portrait that he had painted. I noted the musical scroll in one hand of the sitter and was captivated by the detailed curly locks of hair, the musician’s brown eyes and his red cap.
Caravaggio’s insect-infested “Basket of Fruit” tells a story of diminishing beauty by displaying rotting fruit. Bramantino’s “Adoration of the Christ Child” shows the kneeling Bernardino of Siena, Francis of Assisi, Benedict of Nursia and the Virgin Mary making an understandable fuss over baby Jesus. I loved the angels playing musical instruments behind those figures. Emperor Augustus also makes an appearance.
Bergognone’s “Sacred Conversation” shows the Virgin Mary and Christ Child on a massive golden throne, baby Jesus on the Virgin Mary’s lap. Solemn angels flutter in the background. I was struck by the details of the Virgin Mary’s hair and by the material of the clothing worn by the Virgin Mary and baby Jesus. The two were surrounded by saints with captivating headwear, including Saint Ambrose and Saint Jerome.
Another painting that left me speechless was Sandro Botticelli’s “The Madonna of the Pavilion.” The artist’s meticulousness was evident. The artwork shows the Virgin and Child with much symbolism. The pavilion that two angels open to reveal the Christ Child is rich in biblical meaning both in the Old and New Testament. I could almost feel the paper of the pages making up the open book in the painting.
Raphael’s School of Athens
Raphael’s cartoon of the “School of Athens” is a study for the Italian Renaissance fresco painted in the early 1500s for the Raphael Rooms in the Vatican Museum. I recalled seeing the skillful rendition of philosophers and scientists from Ancient Greece at the Vatican on my 40th birthday as I mulled over the dominant role that perspective played in the artwork. Plato, Aristotle and Pythagoras appear in the fresco. Leonardo and Michelangelo are present as Plato and Heraclitus.
Other paintings that awed me were the fantastic landscapes of Paul Brill, whose works I had discovered some years earlier in Edinburgh. Jan Brueghel’s detailed landscapes and still lifes also are close to my heart, and I adored masterpieces from the Netherlands. I stared at these paintings, losing myself in the fantastical landscapes and details that were so masterfully rendered by both artists. I felt a special connection to these works featuring a dream-like quality as if I could be transported into a fantasy world by merely peering at the canvases.
Other paintings that captured my undivided attention had been created by Bernardino Luini (I fondly recalled his paintings in Milan’s Church of Saint Maurizio), Tizian, Jacopo Bassano, Moretto and Daniele Crespi as well as Francesco Hayez, whose works I knew well from the Brera Gallery in the same city. Andrea Bianchi had created “The Last Supper,” imitating da Vinci’s masterpiece. Tizian’s “Adoration of the Magi,” Bramantino’s “Madonna of the Towers” and the locks of hair of Lucrezia Borgia all left me awe-struck.
The sculptures and frescoes from the second to 16th century in the Sala del Bambaia are very noteworthy. The Hindu art of the Berger Collection captivated me. The Flemish and German painting from the 15th to 17th century enthralled. Ceramics also play an intriguing role in the collection.
I was so awed by this gallery and library that I visited it twice during my first trip to Milan. I peered at every painting and sculpture, trying to take in each artistic creation, feeling so blessed to be able to see all these masterpieces with my own eyes.
Tracy A. Burns is a writer, proofreader and editor in Prague.
I have visited this phenomenal art gallery in Milan twice. I could go there a million times, and I would be just as amazed as I was on the first two occasions. While the gallery includes Italian art from the 13th to 20th century, some remarkable foreign works are on display in its 38 halls, too. Artists from the Netherlands represented in the gallery include Peter Paul Rubens, Anton van Dyck, Jan de Beer and Jacob Jordaens. The Brera focuses on Venetian and Lombard painting.
The art gallery is situated in a large complex that also houses a stunning library (where I saw an exhibition during my second visit), an observatory, a botanical garden and the Brera Academy of Art. In front of the museum is an equestrian statue of Napoleon by Antonio Canova. While the art academy was established as far back as 1776, the museum was opened in August of 1809. When paintings in Lombardy were confiscated from churches and convents in the early 19th century, they wound up at the Brera, so many religious works make up the collection. Parts of the art gallery were damaged in bombing raids during 1943, but they were fully reconstructed by 1948.
Some of the most famous paintings in the gallery include “The Lamentation of Christ” by Andrea Mantegna, “The Kiss” by Francesco Hayez, “Finding of the Body of St. Mark” by Tintoretto, “The Last Supper” by Rubens and “Supper at Emmaus” by Caravaggio – only one of two Caravaggio paintings in Milan. Also on display are the exquisite “The Marriage of the Virgin” by Raphael and “Christ at the Column” by Donato Bramante. I especially liked the paintings by Canaletto and Hayez as well as the 14th century frescoes. Modern works are exhibited, too. For example, “Enfant gras” by Amedeo Modigliani and “Riot in the Gallery” by Umberto Boccioni take up prominent places in the gallery. The works of Pablo Picasso and Giorgio De Chirico are represented, too.
I was overwhelmed at the beauty and power of the paintings in the Brera. Some of the monumental works just took my breath away. I was moved by all the paintings, each one telling a story.
Tracy A. Burns is a writer, proofreader and editor in Prague.
During my first trip to Milan, I didn’t have time to see the Monumental Cemetery, where graves adorned with magnificent sculpture abound. Designed by master architect Carlo Maciachini in various styles, it was open to the public during 1866. The tombstones are elaborate works of art showing off styles from the end of the 18th century through the 19th century and beyond. For example, I saw a tombstone shaped as an Egyptian pyramid and another resembling Trajan’s Column. I even found some graves decorated with modern architecture.
The Neo-Gothic Famidio, which looks like a church but houses tombstones of eight famous Italians, was the first place I entered. One wall is covered with names of others who are buried on the premises. Smack in the center of the Famedio is the tombstone of Alessandro Manzoni, a 19th century Italian author who wrote the patriotic worldwide masterpiece, The Betrothed. I knew he had been instrumental in creating the modern Italian language and had been admired during the Risorgimento, the movement that culminated in Italy’s unification. I had seen displays dedicated to him in the Museum of the Risorgimento in Milan and had viewed editions of The Betrothed in a temporary exhibition at the Brera Art Gallery’s historical library. I also had visited the museum dedicated to his life and work, though I hadn’t been that well-schooled in his background and literary works to appreciate everything I saw. In that museum, I especially liked the paintings showing scenes from his works.
Many famous Italians are buried in this cemetery – the painter Francesco Hayez whose creation “The Kiss” I had admired in the Brera along with many other of his works; Dario Fo, a playwright whose literary contributions I had read with great enthusiasm; and conductor and cellist Arturo Toscanni as well as pianist Vladimir Horowitz. I had been introduced to their classical music accomplishments when I had studied classical music in college.
The cemetery has three main sections – one for Catholics, one for non-Catholics and one for Jews. The central edifice in the Jewish section boasts beautiful windows that symbolize the 12 tribes of Israel. Inaugurated during 1876, the Greek Revival styled Cremation Temple has the distinction of being the first crematorium used in the Western world. It was in service until 1992. I also saw a moving monument to those 800-some Milanese who died in Nazi concentration camps. It was created in 1945.
All the tombstones I viewed were outstanding works of art. I saw a tall tombstone that symbolized the Tower of Babel in the center of the cemetery. Looking like a tower with many sculpted figures on the outside, the tombstone was empty on the inside. Designed by architect Alessandro Minali and sculpture Giannino Castiglioni in 1936, it featured numerous biblical scenes. I recalled viewing Peter Bruegel’s painting called “The Tower of Babel” at an exhibition in Vienna. Though markedly different, both works contained an amazing amount of detail in the various scenes portrayed.
Another tombstone on the central path was nubbed “Work” because it extolled an allegory on that subject, played out in a scene devoted to agriculture. The female figure looking down on the scene symbolizes Mother Nature, her face so well-sculpted by Enrico Butti in 1912. The episode shows a male figure pulling his cattle with some difficulty. He is leaning in one direction due to the heavy weight of the animals. The two cattle and male figure are made of bronze while Mother Nature above is made of red-colored rock. I found this tombstone to be very compelling, especially with Mother Nature looming over the scene.
My favorite sculptural grouping represents Leonardo da Vinci’s “Last Supper.” I had viewed the painting in Milan during my previous visit and had been drawn to the details in the work, especially the facial expressions and gestures of each character that was portrayed uniquely and exquisitely in the unfolding drama. In this sculptural rendition, the bronze larger-than-life-sized figures share the same theme as the painting, though there are some differences from the masterpiece in the Church of Santa Maria delle Grazie. This tombstone overwhelmed me with its dramatic and vibrant qualities. It had been made for David Campari and the Campari family and designed by Giannino Castiglioni in 1935. Representing a painting in sculptural form was audacious and formidable. I especially noticed the detail in Judas’ bag of money.
I also saw a more modern work, dated from 1949 and created by modern Italian artist Lucio Fontana for the Chinelli family. The large sculpture of a headless blue angel was made in paper mâché, hovering over the earth. I took notice of the vibrant color.
After an hour and a half, I had to leave the cemetery because it was just too depressing looking at graves, even though they were masterfully made. Every one told a unique story. I was glad I had finally made it to the cemetery and certainly was not disappointed.
Tracy A. Burns is a writer, proofreader and editor in Prague.
I visited the National Museum of Science and Technology dedicated to Leonardo da Vinci on my last trip to Milan, and, quite frankly, I didn’t expect I would be too enthusiastic because neither science nor technology is my cup of tea. However, the museum was fascinating. I especially was excited by the models made from drawings of Leonardo da Vinci. They showed machines and buildings he had designed on paper as well as his version of the ideal city. I also was enthralled with the hangars containing planes, ships and trains.
Opened in 1953, the museum is one of the largest scientific and technological museums in Europe. It is located in an ancient monastery not far from the Chiesa di Santa Maria delle Grazie, where I had seen Da Vinci’s Last Supper. Covering science and technology in Italy from the 19th century to the present, the museum holds the biggest collections of models of machines from designs by Leonardo da Vinci found anywhere. It includes 2,500 pictures, designs, sculptures, medals and artistic objects. There are seven sections, including materials, energy, communication, transport, food and science for young people as well as the Leonardo da Vinci Art and Science department. Musical instruments, clocks and jewelry are on display in this part.
The Leonardo da Vinci galleries display 170 military and civilian models, pieces of art and other objects. The models of buildings based on his drawings are architectural gems. Machines made from his drawings also impressed me. I saw a hydraulic saw, a flying machine and a spinning machine, for instance. I was awed with Da Vinci’s vast knowledge of anatomy, physics, mathematics, botany, geology and cartography.
The transport department includes air, rail and water. The trains are located in a pavilion originally built for the 1906 Expo. A façade resembling a 19th century structure has been added to the historic building. One train that caught my attention was the GR 552 036 locomotive from 1900. It had towed the Indian Mail train from Bardonecchia to Brindisi on its journey from London to Bombay. A horse-powered omnibus from 1885 was another delight.
One of the top exhibits is the submarine S 506 Enrico Toti, the first submarine to be constructed in Italy after World War II. It began operation in 1968 and was roaming the seas for 30 years. During the Cold War, it searched for Soviet submarines.
The Vega Launcher from 2012 is a model of the first Vega made by the European Space Agency. It has a height of 30 meters and weighs 37 tons. The Vega can release satellites that weigh up to 2,000 kilograms.
The ships also intrigued me. One of the largest ships in the museum, the Ebe Schooner from 1921 was initially used by merchants to transport their wares through the Mediterranean. In the 1950s it became a training ship. The ballroom and bridge of the Conte Biancamano ocean liner also are worth seeing. They date from 1925. It has traveled extensively, making the journey from Genoa to Naples to New York and also going to South America and the Far East. During World War II it was used by American soldiers.
The planes were enthralling. I especially liked the Macchi MC 205 V from 1943. It made a name for itself during World War II. The plane has two machine guns and two cannons. Modern military planes and a modern helicopter also are on display.
Enrico Forlanini’s experimental helicopter from 1877 has the distinction of being the first object to fly. Pilotless, it has a steam engine and two counter-rotating propellors. During its flight, the helicopter rose about 13 meters and stayed in the air for 20 seconds. It also made an impressive landing.
I saw other intriguing exhibits. The Regina Margherita Thermoelectric plant had once provided lighting plus electrical power for 1,800 looms. Even King Umberto I and Margherita of Savoy were present for the opening ceremony. It hails from 1895.
Computers made up a significant part of the collections. I saw the Olivetti Programma 101 from the 1960s, the first personal computer. It was a programmable calculator that was small enough to fit on a desk. NASA utilized this contraption for calculating the Moon landing.
Space is another theme on which the museum focuses. I saw a moonrock that is 3.7 billion years old. Astronauts on Apollo 17 brought it back to Earth in 1972. Another exhibit showed space coveralls from 2014 and 2019. Astronomy plays a role, too. Two 17th century globes and telescopes are on display. Giovanni Schiaparelli used a telescope made in 1866 to study the surface of Mars. Schiaparelli peered through another telescope, this one hailing from 1774, when he discovered the asteroid 69 Hesperia and was able to describe what goes on with falling stars.
The diverse exhibits were a big thrill to see. I was so surprised that I had been so interested in the museum. Unfortunately, it was very crowded, so I didn’t get to peruse everything as well as I would have liked. The museum was definitely a popular destination for tourists and Milan dwellers alike. I could certainly understand why.
Tracy A. Burns is a writer, proofreader and editor in Prague.
I regretted not having time to visit the house museum Boschi Di Stefano the first time I visited Milan. It was far from the center, where I spent much of my introductory days in the city. During my second visit the following year, I made sure I did not miss this museum.
I got off the metro at the Lima station, in which felt to me like a dangerous area. Yet, five minutes from the metro, I walked down a street lined with elegant buildings, which gave off an altogether different atmosphere – one of calmness and grandeur. The museum was on the second floor of a majestic building built between 1929 and 1931 by Piero Portaluppi, whose name was familiar to me because he had designed Milan’s Villa Necchi Campiglio, a former home with dazzling Art Deco adornment inside. I recalled the works by Pablo Picasso and the lush garden with pool and tennis courts at the Villa Necchi, one of the highlights of my first visit to this remarkable city.
I loved house museums because they had a more intimate quality than bigger, impersonal art spaces. I could sense that these house museums had once been somebody’s home. Trials and tribulations of daily life had taken place here. Private conversations had been voiced here. This particular house museum had once been the home of Antonio Boschi and Marieda Di Stefano, a married couple who had amassed a collection of some 2,000 pieces of art, mostly Italian in origin. They tied the knot in 1927 as Boschi, a veteran of World War I, went on to become a successful engineer. Marieda was an artist herself who had an affinity for ceramics. Many of her artistic creations can be seen here, too. A school of ceramics was situated a floor below.
The Caso Museo Boschi Di Stefano includes 11 spaces and focuses on 20th century art dated from 1900 to 1960 – mostly paintings but also drawings, sculpture and furniture. About 300 works are on display. The museum has been open to the public since 2003.
I felt overwhelmed as I contemplated the paintings that covered the entirety of the walls from the bottom all the way to the top. I was almost dizzy with delight, gazing at all the paintings, some falling into the category of modern art while others showed off a contemporary style. The works were displayed in a chronological fashion, so I could see how styles developed during those 60 years.
I recognized paintings by Giorgio De Chirico, Pablo Picasso, Amadeo Modigliana, Lucio Fontana and Raoul Dufy. Other pictorial treasures included 66 works by Roberto Crippa; 129 renditions by Gianni Dova; and 57 creations by Cesare Peverelli. Giuseppe Ajmone, Piero Manzoni, Arturo Martini and Sandro Martini, among others, were also represented there. I recognized Joe Columbo’s distinct style from an exhibition at the Museum of Modern Art in Milan the previous year.
What once was a guest room is now filled with furnishings for a study, the pieces dating from the 1930s. The dining room was a delight, too. I was fascinated with the Agena ceiling light, a unique round structure with what look like yellow cups protruding from the ball-like form. I didn’t understand what the style of the ceiling light meant, but it was fascinating to see it with my own eyes.
I went through the flat twice to try to take in all the art that surrounded me. It was a mesmerizing and breathtaking experience. The development of 20th century art was on display, each work speaking volumes about artistic creations during a time period in which I had not lived but could now better appreciate.
Tracy A. Burns is a writer, proofreader and editor in Prague.
This museum of Renaissance and neo-Renaissance decorated apartments in a palace is one of my favorite sights in Milan. It is big enough to include many treasures but yet small enough to have an intimate feel. Because the exhibition focuses on the Renaissance and neo-Renaissance, I didn’t feel overwhelmed as I often do when displays include many styles from numerous eras.
The history of the museum is enthralling. In the second half of the 19th century, Fausto and Giuseppe Bagatti Valsecchi furnished their palace located from via Gesu to via Santo Spirito in Milan with works of Renaissance and Neo-Renaissance art – tapestries, paintings, sculpture and weapons, for example. The furniture hails from Italy, Britain, Japan, France, Germany and Spain. Even though the apartments were transformed into a museum during 1974, the public wasn’t able to view them until 1994.
Giuseppe lived in his apartment with his wife. His five children lived on another floor with their nanny. Fausto had his own apartment on the same floor as Giuseppe. While they managed various charities and traveled, they also had some intriguing hobbies. Fausto enjoyed riding in hot-air balloons and Giuseppe was one of the first to ride a velocipede. They used their Renaissance-furnished apartments for daily activities rather than treating the spaces as a museum. Even though it was decorated to look like the Renaissance, the brothers had installed modern amenities, including hot and cold water and electricity. In fact, this palace made a name for itself as one of the first private homes in the world to install electricity.
I especially liked the coffered ceilings and Latin inscriptions throughout the flats. Throughout the palace I saw the distinguished family crests of lily and eagle. The Neo-Renaissance frames used to display Renaissance art were appealing, fusing the old with the new or newer.
Many spaces captured my attention, including the Fresco Room, where15th century frescoes make a fascinating appearance. The Bevilacqua Room showed off the Madonna and Child by the artist after which the space is named. I took a good look at this innovative work from the 15th century. It was made of glass stones, silver thread, velvet and gold. A coffered ceiling and gold-and-red silk wall coverings added to the elegance of the space.
I have always loved libraries, and this library was no exception. On the 16th century terrestrial globe in the library, North America is labeled as “Unknown Territory.”
The largest room was the Grand Salon with a coffered ceiling adorned with pine cone images. Family crests made an appearance as did Latin inscriptions. The frieze featured a theme from Greek mythology and included 16th century frescoes. The red-and-gold décor gave the room a special sense of grandeur. The six stained glass windows were exquisite.
The living room of Giuseppe and Carolina included 16th century decorated paneling, red furniture with velvet upholstery and a piano. The Red Room, which served as the couple’s bedroom, showed off a coffered ceiling and 15th and 16th century paintings as well as a canopied bed with red covering. A door in this room leads to the children’s floor, so the children never had to walk through the Renaissance-decorated apartments.
The Dining Room was elegant, too. The wall coverings showed the story of Persian king Cyrus. The majolica plates showed scenes from Alexander the Great’s life.
The bed in Fausto’s Bedroom was adorned with head and foot boards sporting 16th century reliefs. The decorated Neo-Renaissance coffered ceiling was another highlight. A 15th century altarpiece also enthralled. I noticed a clock and a lamp shaped like skulls, too.
I noticed the 16th century ceiling decorated with the two family crests and a Latin inscription in Giuseppe’s Bedroom, called “the Green Room.” The headboard showed off a Pieta scene.
The armory was a long and narrow room with helmets, armor, swords and shields. While I am not especially interested in weaponry, it was impressive.
I liked the Bagatti Valsecchi Room where visitors can open drawers and see photos of the two brothers and some of their personal belongings. One photo that captivated me showed the palace after a section was bombed during the second world war. On another photograph, I saw Giuseppe on a velocipede.
After my visit, I decide that this was my favorite museum in Milan because there was so much to appreciate and yet the flats had an intimacy that larger museums lack. The apartments brought the Renaissance to life with its artifacts. The photos of the two brothers made the apartments feel even more intimate. I was given the chance of having a glimpse of their lives, of getting to know them. That the flat was used for daily life and hadn’t been a museum when the brothers were alive made it all the more appealing. The painted coffered ceilings, the elegant beds with canopies and the 15th and 16th century paintings and frescoes throughout made great impressions on me.
I finally left, knowing someday I would be back because this was a museum I could go back to again and again, greatly enriching my life with each visit.
Tracy A. Burns is a writer, proofreader and editor in Prague.
After visiting the Brera Art Gallery in Milan, I walked to the nearby Museo del Risorgimento, which featured 14 rooms of paintings, prints, sculptures and artifacts depicting Italian historical events from 1796 to 1870 as well as arms. It traces the periods from the call for Italian independence to Italian unification. I learned about Napoleon’s reign in Italy as well as the Austrian monarchy’s control. I noticed how prominent Milan’s role had been during the Five Days of Milan, the nickname of the 1848 uprising against the Austrians.
I saw paintings depicting Italian King Victor Emmanuel II, who took the throne in 1861 and reigned until his death in 1878. Two of the paintings were created by Gerolamo Induno. Nicknamed the Father of the Fatherland, Victor Emmanuel II had the distinction of being the first king of a unified Italy since the sixth century. He was born the eldest son of Habsburg Empress Maria Theresa of Austria and made a name for himself in the First Italian War of Independence during 1848-49 before being crowned king.
I spent a lot of time staring at the photos of soldiers in the Album of the Thousands, the volunteers in the Expedition of the Thousand, a campaign that took place in 1860. The group of volunteers armed only with out-of-date muskets defeated the more powerful navy of the Kingdom of the Two Sicilies. Portraits of the 1,089 soldiers in business card format made up this album. I saw the volunteers as individuals rather than as a group of soldiers who conquered Bourbon rule in south Italy. Looking at their portraits, I felt as if I could see the personalities of the men.
Giuseppe Garibaldi, one of the most prominent generals in modern history, guided the volunteers in the Expedition of the Thousand. Their uniforms were made up of red shirts and grey pants. In the exposition I saw the actual poncho and red shirt donned by Garibaldi, who also had military successes in South Africa and elsewhere in Europe.
I loved the paintings and sculptures most of all. These collections were especially noteworthy. The collection of paintings depicting the Imperial period from 1804 to 1814 was perhaps the most poignant of all eras represented by this genre. Francesco Hayez, whose works I had seen in the Brera, had depicted Emperor Ferdinand I of Austria in a moving portrait. Also, powerful canvases of the Five Days of Milan had been rendered by Carlo Canelli, Carlo Bossoli and Pietro Bouvier, for example. Gerolamo Induno and Domenico Induno contributed to the paintings depicting the Second War of Independence. The original Italian flag that flew over the Duomo in Milan on March 20, 1848 was another highlight. The cloak and regal insignia from Napoleon’s coronation as King of Italy were also enthralling.
The 18th century Palazzo Moriggio that houses the museum had an intriguing history as well. The museum had been situated there since 1951. Under Napoleon’s reign the Ministry of Foreign Affairs and then the Ministry of Defense had been located in the palace.
This museum really opened my eyes to many events in Italian history. I had known only very basic information about this museum before my visit. It wasn’t on my list of most important places to see. I learned so much about the time periods in which the Risorgimento took place. I had never been a big fan of battle scenes, but I was struck by the details and by the historical significance of these paintings. While the museum is relatively small, it allows visitors to develop much knowledge about poignant eras in Italian history. In this museum I could actually feel the history come to life. Each artifact tells a story.
Tracy Burns is a writer, proofreader and editor in Prague.
When I left the busy Milan street and stepped inside the Church of San Maurizio al Monastero Maggiore, I could not believe my eyes. The entire interior was a work of art. The Renaissance church featured 16th century frescoes by Bernardino Luini, his brothers and his son. Divided into two parts, it included a worship area for the public and another for the nuns. (An adjacent 17th century former cloister for Benedictine nuns now houses the museum of archeology.) There are eight chapels in the part of the church for the faithful and ten in the section for the nuns. On pilasters between the chapels in the Hall of Nuns, scenes from the life of Christ are portrayed.
I saw a vaulted nave and vaulted chapels in addition to the Hall of Nuns on the other side of the partition. On the dividing wall in the Hall of Nuns, I gazed at Bernardino Luini’s creations from the 1530s – the figures of Saint Catherine and Saint Agatha as well as scenes from the Marriage at Cana and the Carrying of the Cross of Christ. I also saw his frescoes showing the life of Saint Maurizio. The Martyrdom of Saint Maurice and the Theban Legion, probably by Bernardino Luini, shows Maurice fervently praying as an execution is about to behead him. A decapitated body is seen nearby.
In one chapel, Bernardino Luini rendered the martyrdom of Saint Catherine of Alexandria. In the central panel, blood oozes from Jesus’ collapsing body. The masterful Luini renders the moment of the miracle when Catherine is about to be tortured, but is saved by God.
The main altar of the public area with the painting of the Adoration of the Magi by Antonio Campi took my breath away, too. The high altar dates from the second half of the 16th century. The rear end of a horse plays a prominent role in the foreground of the painting. I had never seen the backside of a horse dominating a canvas in 16th century art.
I especially liked the Chapel of the Flood by the Luini brothers. I gazed at the beasts making their way onto Noah’s Ark. A rainbow flitters across the sky. Yet the landscape is decrepit, in ruins.
Saints are rendered on lunettes of the chapels. For example, on two lunettes flanking the altarpiece, Saint Stephen, Saint Benedict and Saint John the Baptist make appearances.
The Eucharist Chapel boasts illusionist features as putti appear to open a canopy. The depiction deceptively looks three-dimensional.
I saw The Last Supper rendered above a door. It reminded me of the church not far away, where I had seen Leonardo’s Last Supper. I will never forget those masterful gestures and facial expressions of the protagonists as each gesture and expression told a story.
I noticed the organ with many 16th century features. It was a rarity as it had 12 pedals. The cornices of the case were richly decorated with fantasy-like figures, musical instruments and still lifes. Another depiction on the case included Saint Maurice holding a model of the church.
There were so many stories told on these masterful artworks that it was impossible to absorb them all during one visit. The church was one of the most beautiful I had ever seen. It was bewitching, enthralling. I vowed to come back because this church was one that beckoned the viewer to return, to experience its stunning beauty time and time again.
Tracy A. Burns is a writer, proofreader and editor in Prague.
Tracy's Travels 