Milanese Art
Milanese art represents its heritage of the Roman Empire throughout the early Middle Ages. Milan even held the distinction of being a capital seat during the years 286-406 A.D. In the year 313 A.D., Constantine Augustus and Licinius Augustus met near Milan and granted Christians the full authority to observe their religion. As a result, no one was denied the opportunity to give their heart in observance of the Christian religion. After the proclamation, Christians were allowed to worship their God freely and openly, without molestation. Under the influences of cultural divisiveness, the formal and stylistic evidence is seen coming from Constantinople, Rome and from the invading Germanic peoples. Archeological excavations have revealed the layers of Milan’s historical legacy. In their resourcefulness, Milanese incorporated salvaged materials from earlier Roman structures into buildings designed for Christian worship.
Colonne Di San Lorenz
One example of the Roman legacy is seen inthe Colonne di San Lorenzo, a row of sixteen columns decorated in Corinthian capitals. The solitary columns are incorporated into the church of San Lorenzo. At one time, the columns were integrated into the quad-riporticus in front of the basilica and were flanked by two projecting structures of masonry whose foundations are still visible.
Interior of San Lorenzo
The vast interior in the center of the church of San Lorenzo expands into four apses, with two on each side. Each apse opens with columns onto the ambulatory and on up to the gallery above. The interior design is emphasized by the rays of sunlight that filter between the columns, enclosed by the dome above, and facilitated by piers at each corner.
Interior Layout of San Lorenzo
The design of San Lorenzo displays a tetraconch plan which represents two symbolic features. One, the center shape refers to a Greek cross. Two, the shape of the octagon is visible in the drum of the dome; and in all three mausoleums, this represents the Christian theology of the resurrection. The three mausoleums protrude from the building; one of them is known as the mausoleum of Sant’ Aquilino which may have been intended to be an imperial mausoleum.
Christ Surrounded by the Apostles
Within the mausoleum of Sant’ Aquilino is one of the original surviving mosaic images in the church: Christ Surrounded by the Apostles. The image confirms the persistence of the roman tradition. For the first time a golden ground is used in Italy from Byzantine origins. At the center, the beardless Christ is dressed in Roman garments while sitting on a throne. From the sitting position, Christ’s hand is raised as in a teaching gesture. Resting at Christ’s feet is a scroll box. Flanked on both sides of Christ are his Apostles listening attentively. This image is consistent with the ancient tradition which portrays Christ as playing the role of both teacher and ruler. From the middle of the fourth century and onward, the Christian idea of Christ as Savior became common themes upon sarcophagi and catacombs. Milan once served as a capital city and imperial residence; as such, it was the desire of Bishop Ambrose to turn the city into a Christian capital, thus, inspiring the works of art produced in this period.
Saint Ambrose
Saint Ambrose is directly attributed to the founding of the basilica Sant’Ambrogio; according to the fashion of the day, churches were named after their founders. It was in 386 A.D. that Saint Ambrose founded the church beside the already existing basilica Faustae. The founding of the church was connected with the discovery of cult relics. From within the relics of holy martyrs, Saint Ambrose re-buried the remains of saints Protasio and Gervasio, beside whom he requested he be buried.
Last Supper
Saint Abrose commissioned the building of an altar for his church. Under the altar is his sarcophagus which is located at the base of the pulpit. The sarcophagus was executed at the end of the fourth century in the Roman sarcophagi tradition. It is richly decorated with low reliefs on all sides as well on the lid. The presence of towers and gates of a walled city in the sculptural composition allude to a Roman city. The two rows of Bible scenes are composed of cypress wood that came from the original entrance doors of Sant’ Ambrogio. Roman triumphal arches were used to speak the formal language of Christian victory. The formal language in the Roman Christian tradition carried over to the styles of ambulatory art. Artifacts held in the Cathedral Treasury were often produced in Milanese workshops, among them, ivory carvings and silverware. Few of the latter have survived, most were melted down.
The Silver Reliquary
Found in 1894, the silver reliquary, used to hold the relics of the Apostles, once belonging to the basilica of San Nazaro, is one of the largest reliquaries from this period. The silver reliquary was donated to the basilica by Emperor Theodosius. Much like the sarcophagus of Saint Ambrose, embossed images grace all four sides of the reliquary. In one the scenes, figures are arranged symmetrically around the central figure of King Solomon. Following Roman classical manner, King Solomon is depicted wearing a long tunic and military cloak. He rests his feet on a stool and raises his right hand in a teaching gesture, similar to figures of Christ during this period. The scene depicted from 1 Kings 3:16-28 was made using the engraving tools: burin and chisel. Another artifact among the Cathedral treasury that was created using the burin was the ivory works. Unlike the silver reliquaries, numerous ivory carvings are preserved in the Milanese area including diptychs. Originally in Roman tradition, diptychs were given as gifts to commemorate the appointment of counsels and high imperial officials. During the early Christian era, diptychs served as a liturgical function.
The Ivory Evangeliary Cover
The Ivory Evangeliary Cover, executed in the fifth century, is the oldest item in the Cathedral treasury. Suspected to originally be a diptych, it was turned into a case for a liturgical book. Sixteen scenes from the life of Christ, depicted with a great feeling for the narrative, are placed into small registers. A central figure of the lamb is worked in silver, symbolic of Christ. The classical inspiration continues with the figure of the lamb, framed by ears of wheat and fruit. The style of Roman origins combined with cloison was heralded in the work of the Longobards.
Votive chapel of Santa Maria
The prominent affect on the Longobards through Romanization was their conversion to Christianity which was imposed by Theodelinda. It was during the revival in the construction of churches and monasteries that the name of Liutprand’s sister, Aurona, is associated to the construction of the only surviving Longobard building in Milan: the church and monastery of Santa Maria d’ Aurona. It had a single hall with tree apses, one semicircular and two rectangular. The remains of Santa Maria d’ Aurona were found in 1868 and were in the Castello Sforzesco.
Capital from the monastery of Santa Maria d’Aurona
Among the fragments found at Santa Maria d’Aurona are two small pillars decorated with plant motifs and two capitals adorned with doves and crosses reminiscent of early Christian symbolism. The blend of Longobard culture with Frankish and Visigoth persuasions gave rise to the Carolingian period. Milan rose to a position of superiority once again. Saint Ambrose’s successors participated in a leading role in the restoration of the arts.
Diptych of the Passion
The art of ivory carving was revived and the articles that were created were chiefly used for religious purposes. The diptych of the Passion and the Resurrection of Christ shows the events of Christ’s earthly life in low relief. The images are divided into eight registers showing Christ washing the disciple’s feet, the arrest of Christ, the betrayal of Judas, the Soldiers guarding the tomb, an empty tomb, Christ appearing to his disciples, and a classic image of the doubting Thomas placing his finger in the side of the resurrected Jesus. The ivory creations were decorated in an ornamental type using interlacing plants and spirals that cover the surface, echoing the knotted lines that also embellished the illuminated manuscripts that emerged from the monastic scriptorium.