As the cab pulled up along Duomo square, I drew a sharp breath. There was a lot to take in - the mix of tourists and businessmen hurrying across
the square. There were also many groups of smaller children. Some were there with parents, others were there to loiter and cause trouble. I secured my
purse and realized with a jolt that this scene was the epitome of Italy. But I wasn't scared. I was absolutely enchanted.
If there's one place in Italy that encompasses its true flavor and spirit, it's Milan's Duomo square. The Duomo cathedral, the third largest in
Europe, is a spectacular example of Gothic and Romanesque architecture 500 years in the making. By climbing the long staircases, you can view all of
Milan - and on a clear, sunny day, even the Alps - from the roof, amidst majestic crowns of ornate spires.
Although the cathedral is adorned with more than 3100 statues and statuettes, Perego's Madonnina is the most inspiring. It is the icing on the
cathedral cake, a final tribute to the five centuries of architects, construction workers, engineers and everyday citizens who contributed to the
Duomo's construction.
The Duomo (also called the Collegiate) Church is located on the west side of the square. It's considered both a Temple of Faith and Temple of Art
- much of the original art still remains within. Once inside the cavernous cathedral, you'll see that the church is split into five large naves,
separated by voluminous pillars. The pillars are framed by intricate, delicate stained glass windows, which send long, darkly-colored rays of light
across the hard floors.
If you're short on time or just want to make sure you get to see the highlights of the cathedral, be sure to explore the central nave. Upon
entering, you'll find two wooden statues on each side of the fresco, illustrating the 'Martyrdom of St. Sebastiano' by Benozzo Gozzoli. The statues were
actually carved by Jacopo della Quercia.
Between the first two arches on the upper portion of the nave you'll find frescoes by Taddeo di Bartolo depicting 'The Last Judgment.' Down
farther and to the right, you'll see the 'Chapel of St. Fina,' dating back to 1468, now surrounded by a breathtaking altar by Benedetto da Maiano. It is
also surrounded by frescoes by Domenico Ghirlandio, with 'St. Gregorio foretelling St. Fina of her approaching death' on the right and 'Her Funeral
Rites' to the left. It is considered the most precious piece of
artwork in the Duomo, which leads to a great deal of tourist traffic.
The best time to visit the Duomo is in the mid-to-late afternoon, when the light can be seen streaming through the tall panels of stained glass.
It is also less crowded, except during July and August, when it is crowded with tourists all day. If you'd like to just sit on the square and
people-watch, as we did, grab a latte or other expensive coffee drink (this is Milan, after all) from a cafe in the Galleria Vittorio Emanuele
across the street. You can't miss it - it's a four-story, glass-encased mall filled with chic cafes and expensive shopping. And if you do stop in, be
sure to step on the testicles of the Taurus mosaic on the floor. Locals swear it brings good luck.
SIGNIFICANT DATES FOR THE DUOMO
1386: The construction begins.
1418: The Pope Martino V consecrates the High Altar.
1577: Carlo Borromeo proceeds to the solemn dedication
1610: After the crypt, required by S. Carlo for the choral Officiation of
the Canons, Cardinal Federico Borromeo orders the construction of the dark
crypt, where the remains of S. Carlo are kept and worshipped.
1744: The gilt statue of Madonnina is placed on the highest spire.
1805: The final works of the facade begin
1878: The Duomo is declared a National monument.
1932: Duomo becomes a Basilica.
1943: A bombing causes serious damages, especially to the apse.
1960: The excavations to recover the remains of the ancient basilica and
baptistery start.
1980: After long studies, works on static restoration and repair of the
presbytery begin.
1983-1984: The Pope John Paul II visits the Duomo during the
National Eucharist Congress and the Centenary of S. Carlo.
1986: The works of restoration end. The Cardinal C.M. Martini consecrates
the New Altar.
Timeline courtesy of FiveStars.com and author's research.
This article was written by staff writer Sabrina Friedman. | | |
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