The impressive, ornate Duomo di Milano is unmistakable and familiar to anyone vaguely interested in medieval church buildings, but what about inside . . . naturally it’s vast. The interior space can accommodate 40,000 people in the 12,000 square metres. It feels magnificent as you enter the immense, shadowy gloom from the bright Milanese daylight.
It is hard to capture the scale of the space which is dominated by the 52 pillars that make up the five aisles of the church, but a few shots down the nave to the altar and beyond . . .
and then standing in the transept to the right of the main alter looking across to the northern apse, encompassing the Altar of the Madonna and the Tree, . . .
and then turning around to face the altar of Saint John Bono (San Giovanni Bono) on the southern side of the transept, and you begin to get the idea.
Milan Cathedral has taken over 600 years to complete and during those centuries various architectural and art styles have come and gone. Interestingly, although the Altar of San Giovanni Bono looks at first glance as if it was a whole, complete design created at one time by a single sculptor, it is actually a combination of sculptural pieces. The main figure of San Gionvanni Bono in the centre of this classical style altar, was sculpted by the 18th century sculptor Elia Vincenzo Buzzi around 1763. The statue stands beneath the inscription ‘Ego sun pastor bonus’ (I am the Good Shepherd) and it is flanked to its right by The Guardian Angel and to the left by St Michael. I liked the composition of The Guardian Angel grouping and thought it made an interesting photograph. Our guide simply walked past the whole altar affair, ignoring it and began to relate the details of the more famous Marco d’Agrate statue of St Bartholomew nearby.
Now back home, I have spent some time digging around in the literature and at the same time examining my photographs. I’ve discovered that the two statues flanking the central display were created by a different sculptor and not Buzzi. They are the work of Giovanni Bellandi and were carved 140 years earlier than the Buzzi work. If you look closely the Bellandi work is less stiff and formal than the Buzzi statue. In any case I just liked the idea of such a grand altar being a successful composite of more than one artist’s work carved over a century apart.
Another decorative element of the building that significantly adds to the drama of the experience is the beautiful stained glass.
Soaring 20 metres up towards the ceiling the windows are filled with stained glass some from the 15th and 16th centuries with more additions in the 19th century and some new windows commissioned as recently as 1988. Stained glass is more fragile than stone, and requires regular maintenance. The cleaning and repairing work began in the 17th century and has been carried out ever since.
Of course, over the centuries, many hundreds if not several thousands of people have worked to build and adorn the cathedral and most of them remain unnamed. In our individualistic times celebrating named, famous artists, it is refreshing to think of the extensive collaboration of these unnamed people, working together over hundreds of years, to create such a magnificent building as the Duomo.
Agnes Ashe 