See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

MILAN (Ital. Milano, Ger. Mailand, anc. See also:

• MEDIOLANUM, or MEDIOLANIUM (mod. Milan, q.v.)

Mediolanum, q.v.)  , a See also:

• CITY (through Fr. cite, from Lat. civitas)

city of See also:

• LOMBARDY

Lombardy, See also:

• ITALY
• ITALY (Italia)

Italy, See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital of the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, 93 M. by See also:

• RAIL

rail E.N.E. of See also:

• TURIN

Turin . Pop . (1881), 321,839; (1906), 560,613 . It is the seat of an See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop, the headquarters of the II. See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army See also:

• CORPS (pronounced as in French, from which it is taken, being a late spelling of tors, from Lat. corpus, a body; cf. " corpse ")

corps, the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• FINANCIAL

financial centre of Italy and the wealthiest manufacturing and commercial See also:

• TOWN

town in the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . It stands on the little See also:

• RIVER

river Olona, near the See also:

• MIDDLE

middle of the Lombard See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain, 400 ft. above See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea-level . The plain around Milan is extremely fertile, owing at once to the richness of the alluvial See also:

• SOIL

soil deposited by the Po, See also:

• TICINO (Fr. and Ger. Tessin)
• TICINO (Ger. Tessin, anc. Ticinus)

Ticino, Olona and See also:

• ADDA (anc. Addua)

Adda, and to the excellent See also:

• SYSTEM

system of See also:

• IRRIGATION (Lat. in, and rigare, to water or wet)

irrigation . Seen from the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of the See also:

• CATHEDRAL

cathedral, the plain presents the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of a vast See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden divided into square plots by rows of mulberry or See also:

• POPLAR
• POPLAR (Lat. Populus)

poplar trees . To the See also:

• EAST
• EAST, ALFRED (1849- )

east this plain stretches in an unbroken level, as far as the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye can follow it, towards See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice and the Adriatic; on the See also:

• SOUTHERN

southern See also:

• SIDE
• SIDE (mod. Eski Adalia)

side the See also:

• LINE

line of the See also:

• APENNINES (Gr. 'A1T- vvLvos, Lat. Appenninus—in both cases used in the singular)

Apennines from See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna to See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa closes the view; to the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west rise the Maritime, Cottian and Graian See also:

• ALPS

Alps, with See also:

• MONTE

Monte Viso as their central point; while northward are the Pennine, Helvetic and Rhaetian Alps, of which Monte See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa, the Saasgrat and Monte Leone are the most conspicuous features . In the plain itself See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie many small villages; and here and there a larger town like See also:

• MONZA (locally Monscia)

Monza or See also:

• SARONNO

Saronno, or a See also:

• GREAT

great See also:

• BUILDING

building like the Certosa of See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia, makes a See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white point upon the greenery . The See also:

• CLIMATE

climate is changeable and trying; in summer it is intensely hot, in See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter very See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold . See also:

• SNOW (in O. Eng. sndw; a common Indo-European word; cf. in Teutonic languages, Ger. Schnee, Du. sneeuw; in Slavonic snieg', Lith. snegas; Gr. vi4a, Lat. nix, nivis, whence the Romanic forms, Ital. neve, Fr. neige, &c.; Ir. and Gael. sneachd; the original

Snow is often seen, and the thermometer is frequently below freezing-point . In shape Milan is a fairly See also:

• REGULAR

regular See also:

• POLYGON (Gr. rroXus, many, and ywvia, an angle)

polygon, and its See also:

• FOCUS (Latin for " hearth " or " fireplace ")

focus is the splendid Piazza del Duomo, from which a number of broad See also:

• MODERN

modern streets radiate in all directions .

These streets are connected by an inner circle of boulevards, constructed just outside the See also:

• CANAL
• CANAL (from Lat. canalis, " channel " and " kennel " being doublets of the word)

canal, which marks the site of the town See also:

• MOAT

moat . The See also:

• ARCHES, COURT OF

arches of Porta Nuova are almost the last trace of the inner See also:

• CIRCUIT (Lat. circuitus, from circum, round, and ire, to go)

circuit, constructed after the destruction of the city by See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• BARBAROSSA ("Redbeard")

Barbarossa, to which also belonged the Porta dei Fabbri, demolished in 1900 . Curious reliefs from the Porta See also:

• ROMANA

Romana are to be seen in the museum . Within this circle the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of the streets are narrow and crooked, while those between it and the bastions, though broader on the whole, have but little regularity . An See also:

• OUTER

outer circle of boulevards, planted with trees and commanding the view of the suburbs, lies just beyond the See also:

• PRESENT

present walls of the city, erected by the Spaniards in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; the entire length of these boulevards is traversed by an electric See also:

• TRAMWAY

tramway 7 M. See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long . Occupying one end of the Piazza del Duomo is the famous cathedral . It is built of See also:

• BRICK (derived according to some etymologists from the Teutonic bricke, a disk or plate; but more authoritatively, through the French brique, originally a " broken piece," applied especially to bread, and so to clay, from the Teutonic brikan, to break)

brick cased in See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble from the quarries which Gian Galeazzo See also:

• VISCONTI

Visconti gave in See also:

• PERPETUITY (Lat. perpetuus, continuous)

perpetuity to the cathedral See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter . It was begun in 1386 . The name of the See also:

• ORIGINAL

original architect is unknown, but it is certain that many See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master-masons were called to Milan to assist the See also:

• ITALIAN

Italian builders . It was then the largest See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church in existence, and now, after St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter's at See also:

• ROME
• ROME (Roma)

Rome and the cathedral of See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville, the Duomo of Milan is the largest church in See also:

• EUROPE

Europe; it covers an See also:

• AREA

area of 14,000 sq. yds. and can hold 40,000 See also:

• PEOPLE

people . The interior is 486 ft. long, 189 ft. wide; the See also:

• NAVE

nave is 157 ft. high, and the distance from the See also:

• PAVEMENT (Lat. pavimentu;n, a floor beaten or rammed hard, from pavire, to beat)

pavement to the top of the See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

tower is 356 ft . The See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is See also:

• GOTHIC

Gothic, very elaborately decorated, but it shows many peculiarities, for the See also:

• WORK

work was continued through several centuries and after many designs by many masters, notably by Amadeo, who carried out the octagonal See also:

• CUPOLA (Ital., from Lat. cupula, small cask or vault, cupa, tub)

cupola (the See also:

• PINNACLE (from Lat. pinnaculum, a little feather, pinna; the Gr. rrspirylov, diminutive of irsipuE, wing, is also used in this sense)

pinnacle of which See also:

• DATES

dates from 1774), and by Tibaldi, who laid down the pavement and designed a See also:

• BAROQUE

baroque See also:

• FACADE

facade .

This last feature was begun after Tibaldi's See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design in 1615, but was not finished till 1805, when See also:

• NAPOLEON

Napoleon caused the work to be resumed . With its See also:

• RENAISSANCE, THE

Renaissance windows and portals this facade, though See also:

• GOOD, JOHN MASON (1764-1827)

good in itself, was utterly out of keeping with the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general style of the church, and in 1900 the removal of the inharmonious features was begun, to be replaced in a style strictly in accordance with the Gothic style of the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of the building from the designs of Giuseppe See also:

• BRENTANO, KLEMENS (1778-1842)
• BRENTANO, LUDWIG JOSEPH [called Lujo]

Brentano . In shape the church is cruciform, with See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double aisles to the nave and aisles to the transepts . The roof is supported by fifty-two pillars with canopied niches for statues instead of capitals; the great windows of the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir, reputed to be the largest in the See also:

• WORLD

world, are filled with stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass of 1844 . To the right of the entrance is the See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb of See also:

• ARCH
• ARCH, JOSEPH (1826– )

Arch-See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop Heribert, the See also:

• CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

champion of Milanese See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty, while beside him rests Archbishop See also:

• OTTO

Otto Visconti, the founder of that See also:

• FAMILY

family as a reigning See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house . The large See also:

• BRONZE

bronze See also:

• CANDELABRUM (from Lat. candela, a taper or candle)

candelabrum in the See also:

• LEFT

left See also:

• TRANSEPT (from Lat. trans, across, and septum, enclosure; synonymous terms in other languages are Fr. croisee, nef transversee; Ital. crociata; Ger. Querbau, Quersch&)

transept is said to be 13th century work . In a See also:

• CRYPT (Lat. crypta, from the Gr. Kp&arrew, to hide)

crypt under the choir lies the See also:

• BODY

body of the See also:

• CARDINAL (Lat. cardinalis)

cardinal See also:

• SAINT (lat. sanctus, " holy ")

saint Carlo See also:

• BORROMEO, CARLO (1538–1584)

Borromeo, who consecrated the cathedral in 1577 . It is contained in a See also:

• ROCK
• ROCK (O.Fr. rake, Sp. rota, Ital. rocca; possibly from a Lat. form rupica, from rupes, rock)
• ROCK, DANIEL (1799–187t)

rock-crystal See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine, encased in See also:

• SILVER

silver, and is vested in full pontifical See also:

• ROBES (Fr. robe, Late Lat. roba, raupa, meaning (1)

robes blazing with jewels . The roof of the cathedral is built of blocks of marble, and the various levels are reached by staircases carried up the buttresses; it is ornamented with a profusion of turrets, pinnacles and statues, of which last there are said to be no fewer than 4440, of very various styles and periods . In front of the cathedral rises a See also:

• COLOSSAL

colossal bronze equestrian statue of See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• EMMANUEL, or IMMANUEL

Emmanuel II . There are two noteworthy palaces in the Piazza del Duomo . The first is the Palazzo Reale dating from 1772, but occupying the site of the earliest See also:

• MANSION (through O. Fr. mansion, mod. maison, from Lat. mansio, dwelling-place, stage on a journey; manere, to remain)

mansion of the Viscontis and the See also:

• SFORZA
• SFORZA, CATERINA (1463-1509)

Sforza; its great See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall is a handsome chamber with a See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery supported by See also:

• CARYATIDES (Latinized from the Greek; the plural of Caryatis, i.e. a woman of Caryae in Laconia)

caryatides .

Built into the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace is the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient church of See also:

• SAN

San Gottardo, a Romanesque building which was built by Azzone Visconti in 1328-1339, and was the See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of the See also:

• MURDER

murder of Giovanni Maria Visconti in 1412 . Its campanile is a beautiful example of See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Lombard terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta work . The second palace is that of the archbishops, the See also:

• FINE

fine facade of which is the work of Fabio Magnone . It has an older See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north See also:

• COLONNADE

colonnade, by some attributed to See also:

• BRAMANTE, or BRAMANTE

Bramante, but, like many other buildings, without sufficient See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, and a fine See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court with double colonnades by Tibaldi, towhom the back facade is due . The Palazzo della Ragione, erected in the Piazza dei Mercanti, just west ofthe Piazza del Duomo, the central point of the See also:

• MEDIEVAL

medieval city, in 1223—1238 by the See also:

• PODESTA (Lat. potestas, power)

podesta, Oldrado da Tresseno, whose equestrian portrait in high See also:

• RELIEF

relief adorns it, still exists in fine preservation . It is a brick edifice with a See also:

• PORTICO (Ital. for " porch," Lat. porticus)

portico on the ground See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor and a large hall on the upper . See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

Close by to the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south is the beautiful Loggia degli Osii, erected in 1316, with two loggie or open portico, one above the other, in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and white marble . Among the most interesting buildings in Milan is the ancient church of S . Ambrogio . Here St See also:

• AMBROSE (AMBROISE), AUTPERT (d.' 778)
• AMBROSE (ANDREY SERTIS-KAMENSKIY) (1708-1771)
• AMBROSE (fl. 119o)
• AMBROSE, ISAAC (1604-1663/4)
• AMBROSE, SAINT (c. 340-307)

Ambrose baptized St See also:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

Augustine; here he closed the doors against the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• THEODOSIUS

Theodosius after his cruel See also:

• MASSACRE

massacre at Thessalonica; here the Lombard See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings and the early German emperors caused themselves to be crowned with the See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• CROWN

crown of Lombardy, and the See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar at which they took their See also:

• CORONATION (Lat. corona, crown)

coronation oaths is preserved under the See also:

• LIME
• LIME (O. Eng. lim, Lat. limes, mud, from linere, to smear)

lime-trees in the piazza . The church was built by St Ambrose early in the 4th-century (on the site of a See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple of Bacchus it is said), but as it stands it is a Romanesque See also:

• BASILICA

basilica of the 12th century, recently well restored (like many other churches in Milan), with a brick exterior, like so many churches of Milan and Lombardy, curious galleries over the facade, and perhaps the most perfectly preserved See also:

• ATRIUM (either from ater, black, referring to the blackening of the walls from the smoke of the hearth, or from the Greek aiOpeov, open to the sky, or from an Etruscan town, Atria, where the style of building is supposed to have originated)

atrium in existence . The wooden See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door belongs to the original 4th century church; it has carvings with scenes from the See also:

• LIFE

life of See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David .

In a great silver reliquary (modern) in the crypt lie the bones of St Ambrose, above which rises the high See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar, which retains its original decorations, the only intact example of its See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period (835) . These consist of reliefs in See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold and silver enriched with See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel and gems, and are the work of one Vuolfvinus, a German . The baldacchino, with sculptures of the 12th or early 13th century, is See also:

• BORNE, KARL LUDWIG (1786–1837)

borne by four ancient columns of See also:

• PORPHYRY (IlopcPisptos) (A.D. 233-c. 304)

porphyry, with 9th-century capitals . In the See also:

• TRIBUNE (med. Lat. tribune, from classical Lat. tribunal)

tribune are fine mosaics of the 9th century, which, See also:

• BURCKHARDT, JAKOB (1818–1897)
• BURCKHARDT, JOHN LEWIS [JOHANN LUDWIG] (1784-1817)

Burckhardt remarks, completely break with See also:

• BYZANTINE

Byzantine tradition . In the side See also:

• CHAPEL

chapel of S . Satiro are even earlier mosaics (5th century) ; there are also fine frescoes by See also:

• BORGOGNONE, AMBROGIO (fl. 1473–1524)

Borgognone and Bernardino Lanini . The lofty brick campanile (789–824) is among the earliest in Italy, and is decorated with coloured See also:

• MAJOLICA

majolica disks . The court of the neighbouring canonica is by Bramante, and so also may be the design of the cloisters of the monastery of S . Ambrogio, now the military See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital . S . Lorenzo, in the south portion of the town, dates from before A.D . 538, thus being practically contemporary with S .

Vitale at See also:

• RAVENNA
• RAVENNA, EXARCHATE OF

Ravenna (though Burckhardt considers it to belong to about A.D . 300, and to be a See also:

• PART

part of the thermae or palace of Maximian), but was burnt down and restored in 1071 (in the restoration Corinthian capitals were used as bases) . See also:

• THIRTY

Thirty-three years later part of it collapsed, and a second See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire followed in 1124 . It was restored, but collapsed again in 1573, and a great part of it had to be re-constructed, including the See also:

• DOME (Lat domus, house; Ital. duomo, cathedral)

dome (1574–1591) . (The chapel of S . Aquilino, possibly a part of the original structure, contains mosaics of the 5th or 6th century.) In See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan the church is an octagon, supported at the corners by four square towers in brick-work, which belong to the original structure . The interior with its two orders is a very fine one, and its See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on Renaissance architects has been very considerable . S . Eustorgio, one of the largest Gothic churches in Milan, with some Romanesque survivals, dates, as it stands, with its campanile, from the end of the 13th century, and has a modern facade in the old style . It has some interesting medieval See also:

• WORKS

works of See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture, and a fine chapel (Cappella Portinari), with a good dome and a beautiful See also:

• FRIEZE

frieze of angels, built by Michelozzo in 1462–1468, and containing the splendid sculptured tomb (a marble See also:

• SARCOPHAGUS (Gr. vapsorg yos, literally " flesh-eating," from vapt, flesh, ¢ayeiv, to eat)

sarcophagus with reliefs, supported by statues) of Peter See also:

• MARTYR (Gr. pimp or µaprvs)

Martyr (q.v.), the masterpiece of Giovanni di Balduccio of See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa (1339) ; the walls of the chapel are decorated with important frescoes by Vincenzo See also:

• FOPPA, VINCENZO

Foppa of See also:

• BRESCIA
• BRESCIA (anc. Brixia)

Brescia . S . Simpliciano, too, though originally Romanesque, is now in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main Gothic, and has been much altered .

S . Vincenzo in See also:

• PRATO

Prato (833), now restored to its basilican See also:

• FORM (Lat. forma)

form, with nave and two aisles divided by columns and three apses, and with small, See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat arcading on the exterior, which is in See also:

• BRICKWORK

brickwork; S . Satiro, founded in 879; S . Babila, also restored to its original form, &c., are interesting for their Romanesque See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture . The small domed structure on the left of S . Satiro is earlier than the church, while the campanile is part of the original structure, though pre-ceded in date by that of S . Ambrogio, which is one of the earliest genuine campanili in Italy (789–824) . The reconstruction of the church of S . Satiro was Bramante's earliest work in Milan (after 1476) . The choir is painted in See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective (there was no See also:

• ROOM

room to build one), the earliest example of this See also:

• DEVICE

device, which was so frequently used in baroque architecture . The octagonal See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy (before 1488), with niches below and a gallery above, with See also:

• STUCCO (Ital. stucco, adapted from O.H.G. stucchi, crust, piece, patch, Ger. Stuck, piece, allied to stock)

stucco decorations by Bramante himself (the frieze with putti and See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal-lions is ascribed to Caradosso), is a masterly work, and one of his best . The Cistercian See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

abbey-church of Chiaravalle, 5z m. south of Milan, is a fine brick building in the plan of a Latin See also:

• CROSS

cross, with nave and two aisles with See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round pillars, with a lofty domed tower, in the so-called Romanesque Transition style, having comparatively slender round pillars and cross vaulting, while the exterior is still quite Romanesque .

It was founded in 1135 by St See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard and consecrated in 1221 . It is interesting as the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model for the plan of many other churches in Lombardy, e.g . S . Maria del See also:

• CARMINE

Carmine and S . See also:

• FRANCESCO
• FRANCESCO, 210

Francesco in Pavia . S . Marco, modernized inside, still retains a beautiful facade of 1254 and a tower—in brick as elsewhere—and contains another tomb by Balduccio . S . Maria Incoronata is unique as a double Gothic church, in the See also:

• HORIZONTAL

horizontal sense (1451–1487) . Of the See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular buildings of the beginning of the 15th century, the most notable is the Palazzo Borromeo, which still preserves its Gothic courtyard . It has a good collection of Lombard pictures . At no great distance from S .

Ambrogio, in the Corso See also:

• MAGENTA

Magenta, is the church of See also:

• SANTA

Santa Maria delle Grazie, built by the See also:

• DOMINICANS

Dominicans about 1460, to which the Gothic facade and nave belong . The choir, See also:

• CROSSING

crossing, and beautiful sixteen-sided dome, with the elegant See also:

• EXTERNAL

external decorations in terra-cotta and marble, are by Bramante (c . 1492) . Adjoining the church is the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent, long used as See also:

• BARRACKS (derived through the French from the Late Lat. barra, a bar)
• BARRACKS, CAMP

barracks . Leading from the fine cloisters, also the work of Bramante, is the former See also:

• REFECTORY (med. Lat. refectorium, from reficere, to refresh)

refectory, on the walls of which Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci painted his celebrated " Last Supper," a work which is unfortunately in a See also:

• BAD, BCD

bad See also:

• STATE
• STATE, GREAT OFFICERS OF

state of preservation . Farther along the Corso, but nearer the Piazza del Duomo, is San Maurizio, the interior of which is covered by exceedingly effective frescoes by See also:

• LUINI, BERNARDINO (?1465-?154o)

Luini and his contemporaries . The interior was erected by Giovanni Dolcebuono, a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Bramante, to whom is also due S . Maria presso S . Celso (the interior and the baroque facade are by See also:

• ALESSI

Alessi) . Thence the Via Bollo leads to the Piazza della Rosa, in which is situated the renowned Biblioteca Ambrosiana, erected in 1603–1609 by Fabio Manzone, to whom the Palazzo del Senato is also due, See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in See also:

• MSS

MSS . In the same building there is also a picture gallery, in which is See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael's See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon for his See also:

• FRESCO (Ital. for cool, " fresh ")

fresco the " School of See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens " in the Vatican . Situated just within the Naviglio, the canal encircling the inner town (adjacent to San Nazar(); which contains Bernardino Lanini's [ft .

15461 masterpiece, the " Martyrdom of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine "), is the Ospedale See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore . This institution, which can accommodate 2400 patients, was founded in the reign of Francesco Sforza . The See also:

• PRINCIPAL

principal court (there are nine in all) is surrounded by fine arcades of the 17th century by Ricchini . The entire edifice is covered externally with terra-cotta, and its facade, designed by the Florentine See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Averulino (Filarete) and begun in 1457, is See also:

• SUPERIOR

superior to any other of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind in Milan . The city is rich in works of See also:

• ART

art, for Milan, with the introduction of the early Renaissance style by Filarete and Michelozzo after 1450, became the See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home of a Lombard school of sculpture, among the chief masters of which may be mentioned Giovanni Antonio Amadeo, or Omodeo,l of Pavia (1447-1522), Cristoforo Solari, and, the last of them, See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino Busti, known as Bambaia (c . 1480-1548), whose work may be seen in the cathedrals of See also:

• COMO (anc. Comum)
• COMO, LAKE OF (the Lacus Larius of the Romans, and so sometimes called LARIO to the present day, though in the 4th century it is already termed Lacus Comacinus)

Como and Milan and in the Certosa di Pavia . Subsequently, towards the close of the 15th century, the refined court of Lodovico Sforza attracted such celebrated men as Bramante, the architect, Gauffino Franchino, the founder of one of the earliest musical See also:

• ACADEMIES

academies, and Leonardo da Vinci, from whose school came Luini, Boltraffio, Gaudenzio See also:

• FERRARI, GAUDENZIO (1484-1549)
• FERRARI, GIUSEPPE (1812–1876)
• FERRARI, PAOLO (1822–1889)

Ferrari, Marco d'Oggiono, &c . Later, Pellegrino Tibaldi and Galeazzo Alessi of Genoa (the former a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of very wide activity) were the chief architects, and Leone Leoni of See also:

• AREZZO (anc. Arretium)

Arezzo the chief sculptor . In still more See also:

• RECENT

recent times See also:

• BECCARIA, GIOVANNI BATTISTA (1716-1781)

Beccaria (1738-1794) as a jurist, Monti (1754-1828) as a poet and See also:

• MANZONI, ALESSANDRO FRANCESCO TOMMASO ANTONIO (1785-1873)

Manzoni (1785-1873) as a novelist, have won for the Milanese a high reputation . The picture gallery of the Brera, one of the finest in Italy, occupies an imposing palace with a good courtyard by Ricchini . It was built as a Jesuit See also:

• COLLEGE (Collegium)

college in 1651, but since 1776 has been the seat of the Accademia di Belle Arti, and contains besides See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die picture gallery a library of some 300,000 volumes, a collection of coins numbering about 6o,000, and an excellent See also:

• OBSERVATORY

observatory founded in 1766 . The Brera Gallery, the See also:

• NUCLEUS (Lat. for the kernal of a nut, nux, the stone of fruit)

nucleus of which was formed in 1806, possesses Raphael's famous " Sposalizio," and many pictures and frescoes by Luini, Guadenzio Ferrari and Bramantino; the collection of the works of Carlo See also:

• CRIVELLI, CARLO

Crivelli (ft .

1480) affords an instructive survey of his work, which connects the Paduan school with the Venetian, here particularly well represented by works of See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Veronese, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• BORDONE, PARIS (1495-1570)

Bordone, See also:

• GENTILE
• GENTILE, C

Gentile See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini, Cima da See also:

• CONEGLIANO

Conegliano, Bonifazio, See also:

• MORONI, C
• MORONI, GIAMBATTISTA (c. 1510-1578)

Moroni and See also:

• CARPACCIO, VITTORIO, or VITTORE (c. 1465-c. 1522)

Carpaccio . Additions are continually made to it . The See also:

• CASTEL, LOUIS BERTRAND (1688-1757)

Castel Sforzesco, or See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle of Milan, stands in the Parco Nuovo; it was built in 1450 by Francesco Sforza on the site of one erected by Galeazzo II . Visconti (1355–1378) and demolished in 1447 by the populace after the See also:

• DEATH

death of Filippo . Maria Visconti . After suffering many vicissitudes and being partially destroyed more than once, it was restored—including especially the splendid entrance tower by Antonio Averulino (Filarete, 1451–1453) destroyed by a See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder See also:

• EXPLOSION

explosion in 1521—in the 15th-century style ' See F . Malaguzzi Valeri, G . A . Amadeo, scultore e architetto (See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo, 1905).in 1893 sqq., and it is now a most imposing See also:

• PILE

pile . Some of the fine windows with their terra-cotta decorations are preserved . The archaeological museum is housed here on the ground floor; besides See also:

• ROMAN

Roman and pre-Roman See also:

• OBJECTS

objects it contains fragments of the 9th century basilica of Santa Maria in Aurona, one of the first examples of vaulted Lombard architecture; the bas-reliefs of the ancient Porta Romana of Milan, representing the return of the Milanese in 1171 after the defeat of Barbarossa; the remains of the church of Santa Maria in Brera, the work of Balduccio da Pisa ; the grandiose sepulchral See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument of Bernabo Visconti formerly in the church of San Giovanni in See also:

• CONCA, SEBASTIANO (1679-1764)

Conca; the tomb of See also:

• REGINA

Regina della Scala, the wife of Bernabo; the funeral monument of the Rusca family; the great portal of the palace of Pigello Portinari, seat of the Banco Mediceo at Milan, a work of Michelozzo; a See also:

• SERIES (a Latin word from serere, to join)

series of Renaissance sculptures, including works by Amadeo Mantegazza, Agostino Busti (surnamed Bambaia), including fragments of the tomb of Gaston de See also:

• FOIX

Foix . Several of the rooms occupied by the archaeological museum See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear traces of the decorations executed under Galeazzo Maria and Lodovico it See also:

• MORO, ANTONIO (c. 1512-1575)

Moro, and one of them has a splendid See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling with trees in full foliage, painted so as to See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the whole vaulting, ascribed to Leonardo da Vinci .

In the upper rooms is placed a large collection of Milanese and central Italian See also:

• CERAMICS, or KERAMICS (Gr. KEpapos, earthenware)

ceramics, stuffs, See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture, bronzes, ivories, enamels, glass and See also:

• HISTORICAL

historical See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics; together with a picture gallery containing works by Vincenzo Foppa, Gianpietrino, Boltraffio, Crivelli, See also:

• PORDENONE
• PORDENONE, IL (1483-1539)

Pordenone, See also:

• MORONE, GIOVANNI (1509-1580)

Morone, Cariani, See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio, Antonello da See also:

• MESSINA

Messina, See also:

• TIEPOLO, GIOVANNI BATTISTA (1692-1769)

Tiepolo, See also:

• GUARDI, FRANCESCO (1712-1793)

Guardi, See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter, See also:

• VAN

Van Dyck and See also:

• RIBEIRA

Ribeira . The finest of the modern thoroughfares of Milan is the Via See also:

• DANTE

Dante, constructed in 1888; it runs from the Piazza de' Mercanti to the spacious Foro See also:

• BONAPARTE

Bonaparte, and thence to the Parco Nuovo, the great public garden in which stands the See also:

• CASTELLO, BERNARDO (1557—1629)
• CASTELLO, GIOVANNI BATTISTA (1500 ?–1569 ?)
• CASTELLO, VALERIO (1625-1659)

Castello Sforzesco . This See also:

• PARK (Fr. part; Ital. parco; Sp. Marque; O.Eng. pearroc; connected with Ger. pferch, fold, and pfarrei, district, translating med. Lat. parochia, parish)
• PARK, EDWARDS AMASA (1808–1900)
• PARK, MUNGO (1771-1806?)

park was once a See also:

• NATIONAL

national drilling ground, which was taken over by the See also:

• MUNICIPALITY

municipality with a view to erecting upon it a new residential See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter, rendered necessary by the phenomenal growth of the city during the last twenty-five years of the 19th century . This design was happily abandoned, and around the Parco Nuovo has grown up a new quarter of wide streets, spacious gardens and private villas . To the north of the castle is the See also:

• ARENA (Lat. for " sand ")

Arena, a kind of See also:

• CIRCUS (Lat. circus, Gr. Kipeos or Kptxot, a ring or' circle; probably " circus " and " ring " are of the same origin)

circus erected by Napoleon in 18o5; while facing the castle on the opposite side of the park is the Arco della See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

Pace, begun by Napoleon in 1806 from the designs of See also:

• CAGNOLA, LUIGI, MARCHESE (1762-1833)

Cagnola to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark the beginning of the Simplon Road, but finished by the Austrians in 1833 . Leading east-north-east from the Piazza del Duomo, the centre of Milanese See also:

• TRAFFIC

traffic, especially of electric trams, is the Corso See also:

• VITTORIO

Vittorio Emanuele . Connecting the piazza with the neighbouring Piazza della Scala is the famous Galleria Vittorio Emanuele, a great See also:

• ARCADE

arcade in the form of a Latin cross, with an octagon in the centre, crowned at the height of 16o ft. with a glass cupola; it is roofed with glass throughout, and is 320 yds. long, 16 yds. wide and 94 ft. high . It has splendid facades at each end, and was constructed in 1865-1867 at the cost of £320,000; it is the finest of its kind in Europe . In the Via Morone near the Piazza della Scala is a collection of art treasures bequeathed to the town in 1879 by a Milanese patrician, the See also:

• CAVALIERE, EMILIO DEL

Cavaliere Poldi-Pezzoli . It comprises valuable pictures, textile fabrics, arms, See also:

• ARMOUR, PHILIP DANFORTH (1832-1901)

armour and a number of antiquities, and is exhibited in the house once occupied by the founder . In the middle of the neighbouring Piazza della Scala stands Magni's monument of Leonardo da Vinci (1872), Opposite is the celebrated Teatro della Scala, built in 1778 on the site of a church founded by See also:

• BEATRICE

Beatrice della Scala, wife of Bernabo Visconti . After the San Carlo at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples it is the largest See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre in Europe, and can seat 3600 spectators .

Looking on to the piazza is the fine Palazzo See also:

• MARINO

Marino, the seat of the municipality since 1861; it was built by Galeazzo Alessi in 1558, to whom the side facade and the court are due, but was not completed until 1890, when the main facade was erected by Luca Beltrami . S . Fedele by Tibaldi (1569) is close by . Milan has a royal scientific and See also:

• LITERARY

literary See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

aca