Basilica di Sant’Ambrogio Diary

When I entered the large courtyard of the basilica in Milan, I thought that this must be one of the most beautiful Romanesque buildings I had ever seen. I reminded myself that I was looking at one of the oldest churches in Milan, built by Saint Ambrose in the fourth century over a cemetery for martyrs. Saint Ambrose had built four churches, then situated outside the walls of the city. A monastery was located there from 789, housing two different monastic communities who had each built a bell tower.

The current appearance stemmed from a 12th century transformation into Lombard Romanesque style. In 1528, The Peace of St. Ambrose had been penned there between the nobility and the populace. Kings of Italy and emperors of the Holy Roman Empire had been crowned there during Romanesque and medieval times. There was 15th century renovation carried out by Donato Bramante, who had served as architect of St. Peter’s Basilica in Rome. In August of 1943, the basilica was bombed, causing much damage to the apse and other areas. Restoration had worked wonders.

Standing in the atrium, I concentrated on the exterior. The red brick color of the Romanesque architecture was stunning. I saw a portico with arches supported by semi-columns and pilasters. The portico entrance included four blind arcades. The main portal hailed from the 8th to 10th century. One side of the atrium included upper and lower loggias. I looked at the pillars surrounded by semi-columns with lavish capitals adorned with lions, angels and vegetable motifs, to name a few. These were older than the Romanesque elements. I saw the two bell towers, one from the 9th century and a higher one from the 12th century. I gazed at the white marble Devil’s Column, which, according to legend, had two holes made by the Devil’s horns after he was unsuccessful at tempting Saint Ambrose. Tombstones from the former cemetery there also stood outside the entrance.

Inside, I saw a 12th century nave with two side aisles that had stunning arcades. The ceiling had remarkable 12th century ribbed vaults, and I saw galleries above the aisles. I loved the Romanesque brickwork of the pillars. It made both the interior and exterior dynamic. There was no transept. I noticed the Serpent’s Column, which was supposedly built by Moses.

I stared at the apse with its 13th century mosaic of Christ Pantocrator or creator of all. At the sides were scenes featuring the life of Saint Ambrose. A gilded domed ceiling caught my attention as did mosaics on walls dating from the 5th century.

The pulpit was for me perhaps the most intriguing part of the church. It hailed from the 12th century and boasted two gilt copper reliefs showing an eagle and seated man, symbolizing apostles John and Matthew. The base of the pulpit was the fourth century sarcophagus of Stilicho with amazing reliefs from the Old Testament. I also noticed Apollo riding a chariot.

Also, I gazed at the 10th century ciborium which was painted with reliefs showing Christ, Saint Ambrose, Saint Benedict and Saint Scholastica. It included four columns in red porphyry and a canopy. The Golden Altar, another highlight for me, dated from the 9th century. The front showed off masterful goldsmithing skills and was adorned with precious stones. Scenes from the life of Christ decorated this side as well. The back included a silver relief celebrating the life of Saint Ambrose. The bishop’s throne hailed from the 9th and 14th centuries. I imagined the kings of Italy seated on the throne during their coronation ceremonies. Wow!

The oratory contained the relics of Saint Vittore and Saint Satiro, who was Saint Ambrose’s brother. The San Vittore in Ciel d’Oro sacellum featured a chapel to Saint Vittore. It was adorned with 5th century mosaics, with the bust of San Vittore making an appearance. The walls were striking in blue and showed six saints. The tomb of Emperor Louis II, who passed in 875, was also in the church. The chapels contained paintings by Tiepolo and Bernardo Luini, for example. In the crypt were the remains of saints Ambrose, Gervasus and Protasus.

The six-room museum included artwork and objects related to the church. Some of the highlights were Saint Ambrose’s bed and a cast of Stilicho’s sarcophagus. I also saw mosaics and triptychs.

Finally, I left the basilica, still stunned by the Romanesque pillars with delightful capitals and sarcophagus from 400 AD under the pulpit as well as the golden altar with its precious stones. The Christ Pantocrater mosaic bewitched me. The museum, too, had been more than intriguing. I gazed at the exterior from the atrium, entranced. My next stop was the Church of Saint Maurizio, where I would be overwhelmed by beauty once more.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Museo del Duomo in Milan Diary

When I visited the Cathedral Museum in Milan, I didn’t expect it to be so big. The museum measured 2,000 meters square, and there were 26 rooms. Set up in chronological order, the artifacts included stained glass windows, paintings, tapestries, architectural models, sculpture, bronze doors, goldsmithing artifacts and more. The museum, located on the ground floor of the Palazzo Reale, allowed me to see the various phases of construction from its foundation in 1386 to the 20th century. The museum dates back to 1953. Ten more rooms were added in 1960, and it was reopened in 1973. It underwent major renovation during this century, too.

Placed in the museum during 2013 after renovation was completed, the Treasures of the Cathedral are on display in two rooms and feature liturgical objects from the 5th to the 17th century. I saw the Cross of Chiaravalle, a masterpiece of Romanesque goldsmithing art. The Cross of San Carlo was another goldsmithing object that amazed. It was made in Mannerist style during the 1500s. The cross is even used in cathedral ceremonies new archbishops are inaugurated. La Pace di Pio V, dated around 1565, utilized lapis lazuli decoration on columns and a sarcophagus. The cross was studded with diamonds. Gold decoration added to its beauty. Il Calice delle Arti Liberali is a chalice placed on a copper gilded frame. Made in Milan during the 1500s, the chalice has enamel decoration.

Perhaps my favorite part of the museum was the section with the stained-glass windows. I was enthusiastic about having the opportunity to see stained-glass windows up close. These panels depicting scenes from the Old Testament had been created by artists from Lombardy, France, Germany and the Netherlands. I loved stained-glass windows, and they were my favorite part of the cathedral’s interior. I spent so much time staring at those windows when I was inside the cathedral.

The sculpture was another delight. The marble Late Gothic figures hailed from the first 50 years of the cathedral’s construction. There were also statues made of terracotta from the Mannerist and Baroque eras. A few of the noteworthy sculptures featured Saint Agnes, Saint George and Galeazzo Maria Sforza. The Sforza noble family had had a vast influence on the city’s development and politics. I also was amazed by the gargoyles. I was thrilled that I had the chance to see them close up.

A model of the entire cathedral comprised three centuries of work and was made at a scale of 1:20. Another model that caught my attention was an early 16th century wooden rendition of the cathedral, made by Bernardino Zenale from Treviglio. This model provided insights into the structural development of the various sections of the cathedral, such as the apse, transept and tiberium.

I found the objects in the museum stunning. I was flabbergasted by their beauty. I had expected a small museum of liturgical items, not such an amazing array of artifacts. I had learned how the cathedral had been constructed in various eras and about the main players in the history of the structure.

Leaving the Museo del Duomo, I was very satisfied with my visit and ready for the temporary Titian exhibition in the Palazzo Reale.

Tracy A. Burns is a writer, proofreader and editor in Prague.

Museo del Novecento Diary

When I looked at the Palazzo dell’Arengario, which houses the Museo del Novecento, I thought that the exterior was an eyesore as it was punctuated by a Fascist style of architecture. It was intriguing, nonetheless. The two symmetrical buildings each had three tiers. Arcades made an appearance as well as did bas reliefs. Even though construction commenced in 1936, the palace was not completed until 1956. During World War II, bombs severely damaged the edifice. In the early years of the 21st century, it was renovated. The museum opened in 2010. About 400 works by mostly Italian artists are on display in chronological order, decade-by-decade.

A spiral ramp takes the visitors to the first three floors. It may look like something out of science fiction, but I thought the ramp interrupted the space. I thought it was more of a hassle rather than a unique and innovative feature. In the Hirschhorn or Guggenheim, the ramp and the locations of the artwork complement each other. I felt that at the Museo del Novecento the ramp and pieces of art worked against each other, dividing rather than complementing.

The first painting that caught my attention was the large canvas called The Fourth Estate by Giuseppe Pellizza da Volpedo. It was lcreated from 1898 to 1902 in Divisionist style. This kind of painting utilizes individual points of color in a neo-Impressionist fashion. Depicting workers on strike, the painting gets its name from the working class that embodies the meaning of “the fourth estate.” Out of the crowd of demonstrators and into the light step three figures, two men and a woman holding a baby. They are walking toward the viewer confidently, not at all in a hurry. They are clearly there to try to reach a deal with their employer. But they are not panicked or nervous. They have terms and conditions that have to be met. The colors in the painting have a cold quality, but the light gives the group a vibrancy that makes them look powerful and in control of the situation.

Paul Klee’s artwork holds a prominent place in the museum.

Foreign artists represented included Georges Braque, Wassily Kandinsky, Henri Matisse, Paul Klee, Pablo Picasso and Piet Mondrian. Indeed, these works are some of the most significant in the collection. Klee’s Wald Bau from 1919 and Kandinsky’s Composition 1916 stand out, for example.

One section of the museum focuses on Italian Futurists, such as Umberto Boccioni, Giacomo Balla and Fortunato Depero. In fact, one room is dedicated to Boccioni’s works. I had visited a museum featuring Depero’s works in Rovereto a few years earlier, so I was familiar with the Futurist style. Born in Italy during the early 20th century, Futurism looked to the future rather than to the past. It praised modernity and technological advances. Industrial cities, cars and airplanes were often subjects of Futurist artworks. Depero’s creations certainly looked like they were in motion. I recalled some people depicted in one work as resembling machines.

The Novecento of the 1920s is well represented with a style that was inspired by ancient Roman art and Renaissance art, which are meshed together in an abstract way. Giorgio de Chirico’s surrealism is on display, too. In fact, his creations take up an entire room. Art Informel by Italian artists and the Azimeth group are featured in the museum, too. The last section follows trends from the Sixties to the Eighties with exhibits of Kinetic Art, Programmed Art, Pop Art, Analytical Painting and Conceptual Art. Lucio Fontana’s works take up the top floor. Take a look at his neon sculpture and you’ll realize what an artistic journey you have taken from the social realism of The Fourth Estate floors below.

A few works worth mentioning include Giacomo Balla’s Ragazza che corre sul balcone from 1912 and Umberto Boccioni’s Svilippo di una bottiglia nello spazio from 1913-35. Balla’s painting showing a boy running on a balcony is dynamic and vivacious as it shows spontaneous movement and the joy and innocence of childhood. The colors of blue, brown and green with white help to create the sense of motion that is central to the painting. Futurism is all about movement as opposed to the static and still life qualities of Cubism.

While Boccioni was also a Futurist, his bronze sculpture Sviluppo di una bottiglia nello spazio showcased a bottle on a plate in unique way that is reminiscent of a natura morta. This kind of still life was not at all typical for Boccioni’s style because of its lack of movement.

Another painting by Paul Klee

Amedeo Modigliani’s portraits were on display, too. He painted the Parisian art collector Paul Guillaume with one eye, for instance. In Arturo Martini’s sculpture La convalescente from 1932, the sick, young woman who is the subject of the work has been forgotten and abandoned. Her empty gaze and lost look practically ripped through my heart. It reminded me of when I was taken downstairs on a stretcher to have my gallbladder operation. The nurses left me on the stretcher in the empty space next to the operating room. I could hear the doctor trying to wake up the patient. At first she didn’t respond. He had to talk to her several times. For a few minutes, I thought that I had been abandoned and that the woman having the operation before me had died. I wanted to run out of there, but I was drugged and could hardly move. Finally, she regained consciousness.

One of the surrealist works by De Chirico

I particularly liked De Chirico’s surrealist works with vibrant colors. His I bagni misteriosi was inspired by a 16th century work by Lucas Cranach. Ever since I was a child, I have loved Klee’s abstract art. For me Klee’s art has a sense of rationality and logic that I often find absent in abstract works.

A painting with a theme of Chinese revolutions

On the third floor there are glass walls that provide great views of the Duomo Square and the cathedral as well as Galleria Vittorio Emanuele II shopping arcade. I stood in that room for a long time, surveying the passersby walking to and fro below me, gazing at the long line to enter the cathedral and the people having lunch at expensive restaurants on the square. It was nice to be up there, looking down at the crowds on that scorching hot May day.

Tracy A. Burns is a writer, editor and proofreader in Prague.

Teatro alla Scala Diary

A theatre and classical music aficionado, I was excited to tour the La Scala Theatre in Milan, where operas and ballets were staged. Classical music concerts by two orchestras also took place there. A chorus called the theatre home, too. I bought my ticket for the tour online before traveling to Italy. I was not disappointed.

First, I gazed at the exterior. The neoclassical building emphasized functionality. It blended in with other buildings on La Scala Square. I had assumed the famous edifice would stand out with an exterior featuring much ornamentation. When the theatre was built, the square was nonexistent, and La Scala did not have a dominant location on the street. It was one of many buildings. Still, it looked elegant. I gazed at the decorated tympanum with bas relief and stucco adornment. I also saw half-columns and two sides of an interrupted balustrade along with decorated parapets.

Once inside, I had some free time before the tour so I walked through the Theatre Museum. I saw many busts of famous members of the opera ensemble, statues, paintings and musical instruments, such as a piano that Franz Liszt had played. There was a special costume exhibition there, too. I am afraid that I am not an expert at opera, so I was not able to recognize all the names of those represented in the museum. A legendary conductor that had worked magic at La Scala was Arturo Toscanini. He had put into place many reforms and had staged works by Richard Wagner, for instance.

Numerous operas by Verdi had been performed at La Scala, and Verdi had made a name for himself with Nabucco, staged at La Scala in 1842. Maria Callas had sung on that stage, her amazing voice filling the auditorium. Herbert von Karajan had conducted concerts at La Scala. I was familiar with his work. I had some of the concerts he had conducted in various places on CDs.

In 1965 Claudio Abbado made his debut. He conducted operas as well as concerts. Riccardo Muti first conducted there in 1981. From 1989 to 1998, he created productions of masterpieces such as Rigoletto, La Traviata and MacBeth.

Operas by Verdi, Giacomo Puccini, Amilcare Ponchielli, Vincenzo Bellini, Gioachino Rossini, Gaetano Donizetti and Karlheinz Stockhausen all had premiered at La Scala. The small museum was very intriguing and certainly a delight for opera lovers.

At the beginning of our tour, the guide told us about the history of the building. The city’s Teatro Regio Ducale burned down in 1776, and Milan needed a new theatre for operas. This edifice was constructed over the site of a demolished church called Santa Maria della Scala, from which the theatre got its name. The owners of the boxes at the destroyed Teatro Regio Ducale paid for the construction. It took two years to build.

Teatro alla Scala opened on August 3, 1778, staging Antonio Salieri’s opera Europa riconosciuta. The La Scale Theatre became an important meeting point for the upper class. At that time, there were no chairs on the main floor, so spectators had to stand during the performance. Also, there was no orchestra pit. Over 80 oil lamps provided light on the stage area while about 1,000 additional lamps were situated elsewhere in the building. Buckets full of water were stored in several rooms in case of a fire. Electric lighting was not installed until 1883. In the early days, the owners of the boxes decorated their spaces themselves, choosing various colors of wallpaper, for instance. In 1844, the boxes all were decorated in red. Today remnants of the original décor can be seen in some boxes. Some are adorned with ceiling frescoes or with mirrors and stucco ornamentation.

However, a casino was also located in the building during the initial seasons. There was a space in the theatre where much bartering took place. For example, people swapped horses. The voices in the foyer could be quite loud so that it was sometimes difficult to hear the performance.

Significant renovation took place in 1907. The seating area originally had 3,000 seats, but after reconstruction the number of seats decreased to 1,987. In 1938 movable bridges and levels were added to the stage, so it was easy to change sets immediately. The system was actually quite complex.

La Scala was badly damaged by bombs during World War II. The theatre was reconstructed and opened with much aplomb in May of 1946. More restoration work occurred between 2002 and 2004, and the ensembles had to perform elsewhere for those two years. Today the theater is divided into four sections of boxes and two galleries for a total of six levels. The backstage area was enlarged during that renovation. The new stage remains one of the biggest in Italy. (Looking at the stage, I was struck by how large and deep it was.) Architect Mario Botta had an electronic system installed next to seats so spectators could read the libretto in English, Italian or the original language of the production while watching the spectacle. This technological feature intrigued me.

In 2005 there were many problems with management. In 2006, during a performance of Aida, the audience was incessantly booing tenor Roberto Alagna. The actor left the stage and did not return. His understudy had to take up the role immediately. He didn’t even have time to put on a costume.

The interior style was neoclassical with gold and red colors dominating the seating area. Medallions and floral as well as animal motifs provided adornment inside. I was overwhelmed by La Scala’s beauty. We sat in the royal box for a short time and watched a rehearsal for Gioconda, which had had its premiere at La Scala centuries earlier. We weren’t allowed to remain there for long, but it was still one of the highlights of my visit to Milan.

Maybe next time I come to Milan I will be able to attend an opera or a classical concert at La Scala.

Tracy A. Burns is a writer, editor and proofreader in Prague.

Galleria d’Arte Moderna Milano Diary

Walking through the charming courtyard of the gallery, I noticed that the villa was in Neoclassical style as was the La Scala Theatre, which I had toured a few days earlier. On the other side of the main street was a vast park. In part of the courtyard was a posh, crowded restaurant. The edifice had two facades, one visible to visitors. Statues and reliefs with a mythological theme decorated the facades. The second façade looked out upon Milan’s first English landscape garden.

Founded in 1903, the modern art gallery was initially housed in Milan’s Castle. In 1921 it moved to its current location, the Villa Reale. Built by Leopold Pollack from 1790 to 1796, the building was originally named Villa Belgiojoso and was used as a private residence. Later, when Napoleon’s adopted son lived there, many famous people gathered at the villa, which was notable for its lavish ornamentation. On August 6, 1849, the Pace di Milano treaty was signed there, making Milan part of Austria.

Austrian Field Marshall Joseph Radetzky von Radez, a Czech noble and Chief of General Staff for the Habsburgs during the Napoleonic Wars, even called the villa home for one year in the 1850s. At one point Radetzky was even knighted for his bravery. Johann Straus composed the Radetzky March after him. His troops appreciated his valor and fairness. He died in Milan during 1858.

When the various states merged into the Kingdom of Italy, the building was no longer used. It was nationalized in 1920 and was refurbished so the Modern Art Gallery could open there the following year. Still, the gallery had to wait until 2006 before they could use the entire building for their exhibits. Before that the gallery had shared the building with other institutions.

The permanent collection started on the first floor. The first six spaces covered Neoclassical art. The works of Antonio Canova were represented there. Two rooms were dedicated to portraiture, including the renditions of Francesco Hayez. His Portrait of Matilde Juva Brunea from 1851 was one of the gallery’s masterpieces. A luxurious ballroom and the Parnaso Room with its astounding 1811 fresco had come into being during Napoleon’s era. After gazing at these two luxurious spaces, I continued to peruse artwork from the Romantic, Divisionist and Symbolist periods. There was also a temporary exhibition of Italian designer Joe Columbo’s 20th century furnishings on that floor.

From the Joe Columbo exhibition
From the Joe Columbo exhibition

The second floor housed the Grassi Collection and Vismara Collection. The Grassi Collection covered both Italian and foreign works ranging from the 14th to 20th centuries. Eduard Manet, Paul Cezanne and Vincent Van Gogh were all represented. Oriental art was on display, too. The Vismara Collection showcased 40 works of art from the 20th century. The paintings and sculptures included creations by  Picasso, Matisse and Renoir.

Some significant paintings on display included Paul Gauguin’s Donne di Tahiti from 1891; Vincent Van Gogh’s Breton Women and Children from 1888; Giuseppe De Nittis’ Breakfast in Posillipo from 1878; Eduard Manet’s Portrait of M. Arnaud from 1875 and Umberto Boccioni’s The Mother from 1907. The sculpture was just as impressive as the paintings. A bust of a madwoman caught my attention. It showed not only unique facial features but also delved into the psychological being of the woman. Via the sculpture, it was possible to see into the woman’s soul.  Other busts were just as revealing. A small statue by Rodin was exquisite, too. A bust of Beethoven was very expressive and innovative.

One bust that captured my attention.

I was thrilled to see so many amazing paintings and sculptures and looked forward to my next stop at another nearby villa, which was devoted to modern art of the 1930s.

Tracy A. Burns is a writer, editor and proofreader in Prague.

A bust of Beethoven

Gallerie d’Italia of Milan Diary

These three palaces, located on the Piazza della Scala near the Scala Theatre, displayed extraordinary artworks of the 19th and 20th century. In the 19th century sections, I was amazed at the vedutas of Milan Cathedral, the system of canals in Milan called Navigli and the Alpine scenes. I found myself thinking of vedutas I had seen in the Czech Republic, such as the masterful ones at Mělník Chateau near Prague.  

The landscapes from the second half of the 19th century gave me a tranquil feeling. I especially liked the landscape with a magnificent yet mysterious castle perched in the mountains. The painting of the Colosseum reminded me of showing that sight to my parents some years ago, watching them gaze with awe and amazement at the historic monument. That was one of the happiest moments of my life.

The paintings of Milan’s Duomo allowed me to appreciate the exterior and interior of that sight to an even greater extent. I recalled walking down from the roof to the ground floor of the cathedral. I had been worried I would fall because I had nursed a bad leg for nine months not long before my trip.

The bas reliefs of Antonio Canova were delights as well. They were inspired by the works of Homer, Virgil and Plato. I remembered seeing Canova’s works at the Borghese Gallery in Rome.

The Lombard painting of the 19th century showed Milan as a vibrant artistic hub and often told pictorial tales of a rapidly changing society. I saw works by Francesco Hayez and other Romanticist artists. Giovanni Migliara focused on ancient monuments.

Works representing Symbolism, Pointillism and Futurism also made up highlights of this museum’s collections. The historical paintings of fight for the unification of Italy profoundly expressed this political and social movement called the Risorgimento, which led to the formation of the Kingdom of Italy. Genre painting showcased people’s daily lives.

The Divisionism of Neo-Impressionist painting that separates colors into dots played a large role, too. The works falling into the Futurism category centered on technology and modernity, for instance. Often cars, airplanes and the industrial city figured in works of this nature.

A special exhibition displayed the Torlonia Marbles, a very significant private collection of Roman statuary with many busts. I loved how the busts, though dating back many centuries, brought out the character of the person sculpted.

The 20th century was highlighted as well. Five halls housed artwork from the 1950s to 1980s. Abstract art between the 1940s and 1950s stood out, too. The Sixties were emphasized with a focus on signs, words and images. Kinetic art also was displayed.

While I was most impressed by the landscapes and pictures of Milan’s cathedral, I gazed at each and every piece of art with awe and wonderment. This was truly a great museum.

Tracy A. Burns is a writer, editor and proofreader in Prague.

Galleria Vittorio Emanuele II Diary

This 19th century shopping gallery, the oldest in Italy, holds the distinction of being one of the first iron and glass buildings. It was also the first edifice in Italy to have electric lighting installed. The structure has four storeys and boasts a double arcade. It is located smack in the center of Milan, connecting the Piazza del Duomo with the Piazza della Scala. The roof is notable for its large glass dome over an octagonal space. It gets its name from the first king of the Kingdom of Italy.

The architect, Giuseppe Mengoni, had it built between 1865 and 1877. It was his claim to fame. Unfortunately, it also brought about his death. One day before the opening of the galleria on December 30, he fell while inspecting the structure’s roof. Four million people attended his funeral, showing their appreciation of his monumental design. Famous Italians were in attendance, too. For example, painter Francesco Hayez was present at Mengoni’s funeral.

The decoration of the galleria is noteworthy. On the floor, four mosaics depicting the coat-of-arms of Turin, Florence, Rome and Milan add elegance to the structure. The mosaics of the four major continents dazzle passersby near the dome. While I was walking through the space, I saw an Italian teenager spin around three times, standing on the bull’s private parts of Turin’s coat-of-arms. This was for good luck, I later learned.

The edifice was badly damaged in World War II but has since been restored to its former glory after solving some problems with its complex roof structure. In 2015, it was repaired in time for the Expo Milano event.

I was already familiar with this type of structure because, during my visit to Naples some years ago, I walked through its Galleria Umberto, a shopping arcade very similar to Milan’s building. The space in Naples opened in 1890 and is named after the then current King of Italy. The entire historic center of Naples, including the Galleria Umberto, has been recognized by UNESCO.

In the Milan galleria, there were shops selling luxurious goods, such as Gucci. Several cafes boasted stellar views of the Duomo. I made my way enthusiastically to a vast bookstore in the galleria and spent much time there perusing the wonderful collection of books.

Tracy A. Burns is an editor, writer and proofreader in Prague.