DOI Page / Citation link:
https://doi.org/10.11588/diglit.42129#0144
CHURCH AND MONASTERY OF ST. MAURIZIO, AT MILAN,
CALLED MONASTEBO MAGGIORE.
LUINI AND SCHOOL OF LEONARDO DA VINCI. 1500 xo 1520.
PLATE XL
The elegant design given in the plate before. us, is part of a very
extensive ecclesiastical establishment, called “ II Monastero Maggiore,”
on account of its rich endowments and numerous privileges, enjoyed
from very ancient times.
The church, built upon the foundation of a temple of Jupiter, is said
to have been one of the three buildings1 exempted by Barbarossa from
the general destruction of Milan.2 Of the building of that epoch, however,
few traces remain, except in the two towers, the one round, the other
square (used as prisons for some of the Lombard martyrs), which are
embellished with some coarse paintings and niches.
The present construction is chiefly the work of Dolcebono,3 a pupil
of Bramante ; the façade, however, is by Perovano.4 The church is
divided into two parts, by a solid screen reaching to the height of the
principal cornice. The half, which serves for public worship, is arranged
in the same manner as the inner church, of which wre have given the
plan, and which belongs exclusively to the monastery. Great elegance
of proportion is displayed in a triforium above a row of small chapels,
which are unconnected with each other, while the triforium leads round
the whole church. The architecture is of a refined Tuscan order, and
Bramantesque in the truest sense.
1 The Cathedral St. Ambroggio, and the Monastero Maggiore.
5 In the year 1162.
3 Gian-Giacomo Dolcebono, 1497—1506.
4 Francesco Perovano, 1665 (de Pagave’s note to Vasari’s Lives. Edit, of the Classici Jtaliani,
V. vii., p. 241.)
CALLED MONASTEBO MAGGIORE.
LUINI AND SCHOOL OF LEONARDO DA VINCI. 1500 xo 1520.
PLATE XL
The elegant design given in the plate before. us, is part of a very
extensive ecclesiastical establishment, called “ II Monastero Maggiore,”
on account of its rich endowments and numerous privileges, enjoyed
from very ancient times.
The church, built upon the foundation of a temple of Jupiter, is said
to have been one of the three buildings1 exempted by Barbarossa from
the general destruction of Milan.2 Of the building of that epoch, however,
few traces remain, except in the two towers, the one round, the other
square (used as prisons for some of the Lombard martyrs), which are
embellished with some coarse paintings and niches.
The present construction is chiefly the work of Dolcebono,3 a pupil
of Bramante ; the façade, however, is by Perovano.4 The church is
divided into two parts, by a solid screen reaching to the height of the
principal cornice. The half, which serves for public worship, is arranged
in the same manner as the inner church, of which wre have given the
plan, and which belongs exclusively to the monastery. Great elegance
of proportion is displayed in a triforium above a row of small chapels,
which are unconnected with each other, while the triforium leads round
the whole church. The architecture is of a refined Tuscan order, and
Bramantesque in the truest sense.
1 The Cathedral St. Ambroggio, and the Monastero Maggiore.
5 In the year 1162.
3 Gian-Giacomo Dolcebono, 1497—1506.
4 Francesco Perovano, 1665 (de Pagave’s note to Vasari’s Lives. Edit, of the Classici Jtaliani,
V. vii., p. 241.)