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Ella Noyes - The Story of Milan

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Transcribers Note The cover image was created by the transcriber and is - photo 1
Transcriber's Note:
The cover image was created by the transcriber and is placed in the public domain.
The Story of Milan
St. Roch.
Fresco by Borgognone.
The Story of Milan
by Ella Noyes , Illustrated by Dora Noyes
London: J. M. Dent & Co.
Aldine House, 29 and 30 Bedford Street
Covent Garden, W.C. * * 1908

All Rights Reserved

La cognitione del tempo preterito e del sito della terra ornamento e cibo delle menti umane.
Leonardo da Vinci.
CONTENTS
CHAPTER I
PAGE
The Ambrosian City
CHAPTER II
The Patarini
CHAPTER III
The Free City
CHAPTER IV
The Reign of Faction
CHAPTER V
The Visconti
CHAPTER VI
From Visconti to Sforza
CHAPTER VII
The Opening of the Gate
CHAPTER VIII
The Sorrow of Milan
CHAPTER IX
Art in Milan
CHAPTER X
The Duomo
CHAPTER XI
The Basilica of St. Ambrogio
CHAPTER XII
San Lorenzo. Romanesque Buildings
CHAPTER XIII
Gothic and Renaissance Buildings
CHAPTER XIV
The Brera Picture Gallery
CHAPTER XV
Other Galleries and Museums
CHAPTER XVI
The Castello
Table of the Visconti
Table of the Sforza
Appendix
Index
ILLUSTRATIONS
PAGE
St. Roch, Fresco by Borgognone (Brera)
The Duomo from Hotel Europe
Atrium of St. Ambrogio
Chiaravalle
Via del Pesce
Tower of S. Gottardo from the Cathedral
The Snake of the Visconti
Galeazzo Maria Sforza, by Piero Pollaiuolo (Uffizi, Florence)to face page
Bridge over Naviglio near San Marco
Canal, Via San Marco
Canonica of St. Ambrogio
Lodovico il Moro, by Boltraffio (Trivulzio Collection)to face page
Scopetta of Lodovico il Moro
Cupola of the Duomo, from the Roof
Within the Duomo
Putti, Guglia di Amadeo
Giant Statues on the Duomo
Side Aisle of Atrium, St. Ambrogio
Capital in Atrium of St. Ambrogio
Capital in Atrium of St. Ambrogio
Ciborium, St. Ambrogio
Sculpture on Pulpit in St. Ambrogio
Chimney, Canonica of St. Ambrogio
The Old Porta Ticinese
Houses on the Naviglio
Exterior of Portinari Chapel, St. Eustorgio
Interior of St. Eustorgio
Statue of Oldrado da Tresseno
Palazzo dei Banchieri
Doorway of Palazzo Borromeo
Cortile of Palazzo Borromeo
Last Supper, by Leonardo. Detail, Figure of Christto face page
Last Supper, by Leonardo. Detail, St. John, St. Peter and Judasto face page
San Satiro
Palazzo Visconti di ModroneGarden on the Naviglio
Putto, Fresco by Bramantino (Brera)to face page
Madonna, by Mantegna (Poldi-Pezzoli)to face page
Portrait of an Unknown, by Ambrogio de Predis, (?) (Ambrosiana)to face page
The Rocchetta, Castello
PREFACE
Everybody has been in Milan, but who knows Milan? The traveller in search of the picturesque and medival sees nothing to arrest himexcept comfortable hotelsin a city which seems to tell only of yesterday. A glance at the Cathedral, at St. Ambrogio, at the most famous of the pictures, and he hurries on. Yet a little longer stay reveals a wealth of artistic interest in the many fine churches, in the rich galleries and museums, and much also that is worth learning even in the outward aspect of the city in the present day. The historic buildings have mostly fallen, the old crooked ways have given place to broad thoroughfares, the picturesque life of the past has been smothered by the sombre bustle of modern commercialism. But her heritage of beauty is to some extent inalienable. She remains always Italian. Colour and atmosphere lend an indestructible charm even to her modernity. The warm brick of the buildings against the limpid blue sky, the gold and grey of sunshine and shadow, the shining canals that border some of the further streets with a still and pensive melancholy, make a lovely and characteristic harmony still, as in the days of the Quattrocentist artists who painted them in the backgrounds of their Madonnas and San Roccos. And there are some old streets left, mostly in the heart of the city, such as the Via del Pesce and the Via Tre Alberghi, long cobbled alleys ribboned with triple lines of pavement, where the tall houses and bowed-out balconies of curious ironwork, rusted by age and weather, if they cannot remember the days of Milans earlier glory, must have known at least something of the sad centuries of bondage which followed, before they shook to the roar of the Cinque Giornate sixty years ago.
The compass of this small volume has made it impossible to tell otherwise than summarily of the great past of this city and of her artistic riches to-day. I have had to pass over, or barely mention, many noteworthy things. I am especially sorry that I could not include the places of interest in the immediate neighbourhood. A visit to the Certosa of Pavia, which sums up all the aims and achievements of Lombard Renaissance art, is necessary for an appreciation of the Milanese sculptors and painters, while the associations of the famous building with Gian Galeazzo Visconte and with the Sforza princes, make it a part of Milanese story. The old Church of Chiaravalle, with its incomparable Lombard-Gothic tower and its trecento frescoes, and picturesque Monza, where that historic emblem and wonder of twelfth century goldsmiths art, the Iron Crown of Lombardy, is preserved with other priceless treasures, ought not to be missed by the traveller.
The main facts of Milanese story are well known, and may be found, not only in the native chroniclers and historians, but also in many modern books dealing with Milan and with Italian history generally. Mongeris LArte in Milano, and the writings of Count Malaguzzi Valeri, especially his Milano in the series Italia Illustrata, have been my chief help in the topographical and artistic part of this book, and I have also made use of the works of Signor Luca Beltrami, Mrs. Ady and others. For the painters and pictures I have depended on Morelli, the acknowledged authority on Lombard art, and have consulted besides the writings of Dr. Gustavo Frizzoni, of Mr. Herbert Cook, and other modern critics.
E. N.
Sutton Veny, Wilts ,
November 1907

The Story of Milan
CHAPTER I
The Ambrosian City
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