MILANO CASTELLO SFORZESCO
THE SQUAREAREA - PIAZZA CASTELLO AND FORO BUONAPARTE
The castle is included into the centre of two half rings which represent the FORO BUONAPARTE system, an
hurbanistic project that, in 1884, involved large ares set free from the previous military destination and stands on the
free ares that for centuries have divided the castle from the city.
THE MONUMENTAL BUILDING
What today remains of the old Sforzesco Castle is only a part of the original building restored by the Sforza family after
the Milanese citizens had destroyed the Visconti Castle in 1447. At present, the Castle is a quadrilateral enclosing the
PIAZZA DELLE ARMI, with its central tower facing the city designed by Filarete and later restored by Luca Beltrami
and two cylindrical towers covered with bosses on each side (the TORRIONE DEI CARMINI and TORRIONE DI
SANTO SPIRITO). At the beginning of the 20th century, some new buildings, which now house offices, were added to
the walls facing south and west. The TORRE DI BONA DI SAVOIA is built on one side of the Rocchetta, just near the
place where there was the old PORTA GIOVIA, one of the medieval gates providing access to the city. The FOSSATO
MORTO (dead moat), which can be seen today around the inner walls of the castle, was the original moat around the
medieval town walls.
The other part of the quadrilateral is covered by the ROCCHETTA and the DUCAL COURTYARD. The Rocchetta is
the most protected area. Situated in the northwestern part of the castle, it is provided with high windowless walls, an
inner courtyard and a square tower facing the surrounding countryside named TORRE CASTELLANA. On the ground
floor of this tower is the SALA DEL TESORO (Treasury room), which contains the beautiful frescos painted by
Bramantino. The Ducal Courtyard encloses the TORRE FALCONIERA. On the ground floor of the tower is the Sala
delle Asse decorated with paintings by Leonardo da Vinci. On the first floor is the Sala XX, which was the bedroom of
duchess Isabella d'Aragona, Gian Galeazzo Sforza's wife.
The U-shaped Ducal Courtyard encloses a pretty garden. On the short side is the PORTICO DELL'ELEFANTE, named
after a fresco that is painted on the arcade. An elegant ramp of stairs leads to the LOGGETTA DI GALEAZZO
MARIA, the ducal loggia on the first floor. The moat enclosing the above-mentioned quadrilateral was in its turn
surrounded by another circle of defensive walls built during the Renaissance period with the aim of protecting both the
walls to the east and west and the façade on the back facing the Sforza family's garden, the so-called BARCO. This
second circle of walls was called GHIRLANDA. Provided with three circular towers and connected to the inner space
by means of the RIVELLINI, (RIVELLINO DI SANTO SPIRITO, RIVELLINO DEI CARMINI), the Ghirlanda was
destined for defensive purposes in case of attacks coming from the countryside.
THE RIVELLINO, THE GHIRLANDA COVERED ROAD AND CRENELATED ROOF
During the 15th century the Castle's quadrilateral was surrounded by a moat, which was in its turn encircled by an outer
wall called the Ghirlanda demolished in 1839. Provided with three circular towers, the Ghirlanda was connected to the
castle by way of drawbridges and fortifications (the rivellini), which were also connected to the medieval walls of
Milan. A tunnel inside the Ghirlanda - known as covered road or secret road - still remains today. Since July 1999 you
have been able to visit the Rivellino of Porta Santo Spirito. Situated just in the middle of the moat, it is connected to the
town fortifications, to the castle and to the covered road by way of three little bridges. Then, walking along the covered
road, you get to one of the Ghirlanda circular towers, which had once been used as a gun port. You can also enjoy an
extraordinary view of the castle from a different point of view by walking along the crenelated roof. Architect Luca
Beltrami was entrusted with the reconstruction of the circular towers facing the city and of the Filarete Tower, with the
adding of dovetail battlements to the walls, as well as with the reconstruction of the top of the Bona Tower. At present,
access to the crenelated roof is by way of the Rivellino of Porta di Santo Spirito. You can also take an aerial view of the
Ducal Courtyard and Piazza d'Armi walking along the Rocchetta walls - probably built by the Viscontis - towards Torre
Falconiera and Torre di Bona. and then go down through the Rivellino
-------------------
HISTORICAL BACKGROUND
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Outline for a visit
The Sforzesco Castle, one of the most famous monuments in Milan, has seen long historical vicissitudes during the past
years. It was demolished, then rebuilt several times, embellished and restored to become a symbol of both happy and
dramatic events that are to be found in the historical background of the city.
Along with the Cathedral - Milan's most famous and much beloved monument - the big Castle is linked to the
vicissitudes and dramatic events that the city has been experiencing over the past centuries. For many years, in fact, it
has represented a symbol of the power in the hands of the Dukes, as well as of the foreign dominators. Only at the
beginning of the 20th century the Castle assumed its distinctive role, becoming a place of culture, which hosted
numerous Lombard art collections. The Castle was named after Francesco Sforza, who transformed it into a ducal
residence in 1450. But its origins date back to the second half of the 14th century, at the time of Galeazzo II Visconti.
Here there are the significant periods of the castle history
The Visconti castle - The Visconti Domination
Demolition of the castle
The castle reconstructed by the Sforza - The Sforza Domination
The ducal residence
The French and the Spanish at Court
The Spanish star-shaped fortification
The Austrian barracks
The castle and the 'Foro Bonaparte'
The Restoration period and the Risorgimento
A castle for Milan (the present building destination)
The castle is a testimony of the Milan history and place of an imposing and well-structured museographic complex
(Civic Museums of the Castle)
MUSEUM OF ANCIENT ART ON THE GROUND FLOOR OF THE DUCAL COURTYARD
MUSEUM VISIT
SALA DELLA CANCELLERIA (ROOM 1)
Among the exhibits on display in this room are sculptures, frescoes and mosaics dating from the 4th to the 11th
centuries. Visitors entering the 1st room on the ground floor of the ducal courtyard will be able to admire 'Arco della
Pusterla dei Fabbri', the imposing arch that was named after a small door once called 'posterula'. Formerly an access
way facing southwest through the medieval city walls of Milan, the posterula was pulled down in the year 1900. Farther
on, you will find a large display of sculptures of Milanese provenance, which offer an overview of the local artistic
production between the Early Christian Age (from 4th to 6th centuries) and the early Middle Ages (from 7th to 9th
centuries). These exhibits mainly consists of Roman, Byzantine and Lombard art, among which some Christian capitals
and sarcophagi from the 4th century, a sculpture traditionally known as the Head of Theodora, wife of great Byzantine
emperor Justinian I (527-565AD), as well as architectural and decorative elements including a beautiful mosaic flooring
dated to the 4th century and marble relieves dated to the early Middle Ages from ancient Milanese churches of Santa
Tecla, San Protaso ai Monaci and Santa Maria d'Aurona.
Within the room are also some inscriptions, mainly memorials on stone and terracotta plates, dated to the 6th and 7th
centuries, which hang on the walls. Particularly interesting is the memorial of Saint Ambrose, written in Greek. In
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addition, there are early Christian frescoes that decorated a stone tomb inside the early church of San Giovanni in
Conca, of which today only the crypt remains. A mosaic fragment depicting the face of Saint Protaso decorated the apse
in the basilica of Sant'Ambrogio. Another fragment depicting a man's head (dated to the 10th century) was found inside
the baptistery of San Giovanni, in Florence.
Significant works:
The Pusterla dei Fabbri, marble, dated to the 12th century
Pusterla dei Fabbri is a gothic arch built with marble ashlars. The two elements sculpted near the impost were
probably intended to drive away evil spirits and negative energy from the city.
The 6th-century marble sculpture known as 'Testa di Teodora' (Head of Theodora) was found in via San Primo, in
Milan
Traditionally identified as Byzantine empress Theodora, recent research has nonetheless questioned this theory.
However, a few details such as precious stones adorning the headdress reveal the fact that, whoever she was, this
woman probably belonged to the upper classes of society. This magnificent sculpture provides an example of the
importation of the Byzantine art into Milan
--------------------------ROOM 2
The 2nd room on the ground floor of the ducal courtyard is devoted to presenting sculpture in Milan and Lombardy
between the Romanesque Age and Gothic Age. The walls of this room are beautifully decorated with frescoes from the
Spanish Age depicting coats of arms and flowers. Among its many interesting exhibits are sculptures dating from the
10th to the 14th centuries, as well as an extraordinary example of Early Middle Ages sculpture, a telamon dated to the
6th-7th centuries, which was found in via Rovello, in Milan.Apart from this, mention should be made of a beautiful
relief with the benedictory Christ (dated to the 11th century) from the old church of San Simpliciano and of
architectural elements (e.g. capitals, shelves etc…) built by local artists inside a number of churches in Milan and Pavia
in the 12th century and portraying the traditional symbolic imagery from bestiaries (e.g. centaurs, mermaids, lions and
dragons).
Not to be forgotten interesting examples of Romanesque sculpture in Como and Cremona, such as a capital portraying
scenes from the New Testament about Christ's life (this exhibit comes from the city of Appiano, province of Como) and
decorative elements from the cathedral of Cremona, among which a splendid telamon. Sculptor Benedetto Antelami,
who introduced technical innovations in the Romanesque style between the late 12th century and the early 13th century,
is probably the author of a relief with the Three Wise Men and of another sculpture known as 'Testa di David' (David's
Head).
Great focus is placed on the production of artists from the city of Campione working in northern Italy and Europe
between 1150 and the late 14th century. Standing in the middle of the room is the sepulchral monument of Bernabò
Visconti, who ruled over Milan from 1354 to his death (1385), truly a masterpiece by Italian sculptor Bonino Da
Campione, undoubtedly one of the most prominent artists of this period. Next to the statue of Bernabò is a marble
sculpture that adorned the tomb of his wife, Regina Della Scala. Also the latter was sculpted by artists of the
Campionese School. Once kept inside the early Milanese church of San Giovanni in Conca, the work is now part of the
rich collections on display at Castello Sforzesco's Museum of Ancient Art.
Last but not least, two votive statues commissioned to sculptor from Pisa Giovanni di Balduccio by Azzone Visconti
(ruled over Milan between 1329 and 1339) to adorn one of the medieval city gates (most probably Porta Comasina).
Significant works:
Telamon by Maestro dei Profeti from the Cathedral of Cremona. Painted stone from early 12th century.
Sculpted by a follower of great Italian sculptor Wiligelmo, one of the major artists of the Romanesque period, this
exhibit is dated to the years between 1107 and 1115, when the Cathedral building work started.
Sepulchral Monument of Bernabò Visconti by Bonino da Campione from early Milanese church of San Giovanni in
Conca. Marble, 1363 - 1380 to 1385.
Commissioned to Bonino da Campione by the Prince Regent to adorn the apse of San Giovanni in Conca, the statue of
Bernabò Visconti on horseback was completed in 1363. This magnificent marble statue later became a sepulchral
monument, as Bernabò Visconti was arrested and, most probably, killed by his nephew Gian Galeazzo, who took power
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in 1385. A sarcophagus made of carved marble slabs recovered from other sculptured works was added under the
statue and the original head covered by a helmet was taken off and replaced with the one that you see today.
------------------------ROOM 3
Under the magnificent vault covered with frescoes depicting Christ's Resurrection painted at the time of Galeazzo Maria
Sforza (1466 through 1476) is a varied display of artistic production from Campione and Lombardy, as well as excellent
examples of Tuscan sculpture, among which a marble almond-shaped decorative element with the Redeemer and Our
Lady of the Assumption. Sculpted by an unknown author, this is regarded as a masterpiece from the 14th century.
Within the room are also statues that once adorned the medieval city gates. The city walls, in fact, were heavily
restored, reinforced and embellished under Azzone Visconti (1329 through 1339). The display has been mounted in
such a way as to allow visitors to have an idea of the original emplacement of the statues. The whole collection of
statues sculpted by Master Giovanni di Balduccio and his followers to decorate Porta Orientale and Porta Ticinese can
still be admired today. Each group consists of a central statue of Virgin Mary with Child. Kneeled down before Her is
Saint Ambrose offering Her a turreted city symbolising medieval Milan. Nearby are patron saints of that gate. Of Porta
Romana only a statue of Saint James by an unknown master from Campione today remains.
Significant works:
Fresco depicting Christ's Resurrection dating from the period between 1466 and 1476
A fine example of Lombard art, this fresco depicting Christ's Resurrection was commissioned by Galeazzo Maria
Sforza. That's probably the reason for a group of guards standing there in quite an unnatural position and looking out
of place to some extent.
Marble almond-shaped element with Redeemer and Lady of the Assumption dated to the 14th century.
Once a decorative element in a window, interesting features of this fine exhibit from Tuscany include images sculpted
on both sides - it is placed, in fact, in the middle of the room - as well as a few traces of polychromy.
----------------------------ROOM 4
The ceiling of this room is covered with an extraordinary fresco depicting the coat of arms of King Philip II of Spain
and Mary Tudor (1555). This is one of the few examples of Spanish art within Castello Sforzesco. Basically, room 4
illustrates the relationship between Lombard sculpture and Tuscan sculpture during the 14th century.
Fragments of a fresco with the Annunciation, which was originally painted, together with the 14th-century frescoes
covering room 2 and room 3, on the triumphal arch of San Giovanni in Conca, are visible within the room. Some works
by sculptor from Pisa Giovanni di Balduccio are also within the same room. These exhibits include fragments and
decorative elements from the façade of the early church of Santa Maria di Brera, now incorporated into Palazzo Brera,
and a statue of Virgin Mary with Child, most probably from the sepulchral monument of Azzone Visconti, which was
destroyed and then partly restored within the church of San Gottardo in Corte. By commissioning the talented Tuscan
sculptor to create important works of art in Milan, Azzone Visconti had laid the foundations for Lombardy's cultural
growth thanks to a fruitful cultural exchange between the two regions.
A follower of Giovanni di Balduccio, whose name is still unknown, has been referred to as the author of the sepulchral
monument of Franchino Rusca. Formerly within the church of San Francesco, in Como, this finely preserved
monument, which was sculpted only after 1339, provides a good example of Gothic art and is also regarded as a model
of sepulchral architecture in Tuscany at that time. Examples of Lombard sculpture include two statues by artists from
Campione depicting the dead Christ in his mother's arms. Quite interestingly, these exhibits combine distinctive features
of the local sculpture with those of the Tuscan style.
----------------------------------ROOM 5
Under a vault covered with frescoes depicting Putti, probably painted by Callisto Piazza between 1500 and around
1562, this small room offers an interesting overview of sacred art dating from the 14th and 15th centuries. Lunettes
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covered with frescoes depicting coats of arms of the families Alvarez, Figueroa and Pimentel - to which many of the
city's governors and lords of the castle had belonged - decorate the walls. Despite all appearances to the contrary, room
5 was never used as a chapel.
Standing in the middle of the room is a wooden crucifix depicting Christ's suffering facial expression, most probably
from Northern Italy and dating from the period between the late 14th and early 15th centuries. In front of the crucifix is
a 14th-century English alabaster sculpture called 'Il Bacio di Giuda' (The Kiss of Judas). According to an inscription on
the reverse side, this exhibit had belonged to the early Rocchetta di Porta Romana and was later given to the castle
museum by architect Luca Beltrami.
The 'Kiss of Judas' portrays a dramatic scene from the New Testament depicting Jesus and apostle Judas in the middle
with Saint Peter and ugly mugs wearing medieval suits of armour around them.
Within this room are also arcades with five stained glass windows portraying scenes from the Bible such as the
Judgment of Solomon and the Resurrection of Christ, created by stained glass artists from the Rhineland (dated to the
16th century).
------------------------------ROOM 6
According to the principles inspiring Post-Risorgimento, room 6 and room 7 illustrate key events in the history of the
city. Within room 6 are displayed the bronze bell from the Broletto (i.e. the town hall) - a symbol of medieval Milan along with the ruins of the 12th-century capitals that were sculpted to decorate Porta Romana (the Roman Gate), once
the main access way to the city, demolished in 1793.
First examples of Milanese sculpture dating from the period of the medieval communes, the carved capitals depict
scenes from the city life after Milan was destroyed by Federico Barbarossa, in 1167. In particular, one portrays exiles
coming back to Milan from the allied cities of Cremona, Bergamo and Brescia. A clergyman holding a flag and a cross
in his hands leads the way. Another capital depicts a scene with the patron saint, Saint Ambrose, scourging the Aryans,
thereby explicitly referring to the enemy emperor.
Also a memorial tablet depicting the rebuilding of the town walls and gates under the supervision of architect Gerardo
di Mastegnianega, as well as a very peculiar relief depicting a man crossing his legs belonged to the early Porta
Romana. Rumours circulated at that time that it was a portrait of Federico Barbarossa.
Another relief depicts a woman making an obscene gesture. This exhibit belonged to Porta Tosa (later called Porta
Vittoria) and the subject portrayed has been traditionally identified as the Emperor's wife.
Last but not least, a relief portraying the religious procession called 'Processione della Madonna dell'Idea', which took
place every year to take the sacred image of Madonna Idea from the church of Santa Maria Maggiore to the early
church of Santa Maria Beltrade, where the exhibit was once housed.
Significant works:
Anselmus, Milanese citizens' homecoming, marble, 1171, from Milan Porta Romana
The inscription above the scene portraying Milanese citizens coming home from the allied cities bears the name
ANSELMUS DEDAL[US] ALT[ER], meaning 'Anselm according to Daedalus', as the sculptor signed himself.
The procession of Madonna Idea, marble, dated to the second half of the 12th century, from early church of Santa
Maria Beltrade, in Milan.
The scene depicts two priests holding an image of Virgin Mary with Child in their hands. Behind them are clergymen,
among whom the Bishop with his crosier and the elder clergymen from the Cathedral holding their tau-shaped staff and
a candle. The procession took place every year to celebrate Candlemas, on February 2.
-----------------------SALA DEL GONFALONE (ROOM 7)
The 7th room on the ground floor of the ducal courtyard is named after the gonfalon of Milan, undoubtedly the most
interesting among the exhibits on display within this room. The banner is a silk embroidery embellished with gold
threads dating from 1656. The design is by Giuseppe Meda, the work by embroiderers Scipione Delfinone and Camillo
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Pusterla. Each side features Saint Ambrose driving away the Aryans encircled by scenes depicting the key events in his
life, and the armorial bearings of the medieval city gates below.
Along with the gonfalon, room 7 also houses 17th-century Brussels tapestries depicting scenes from the lives of
prophets Elias and Ellis, as well as a few sculptures, among which busts of Roman emperors dating from the
Renaissance, the bust of Ottavio Farnese, which was probably sculpted by Annibale Fontana (1540-1587), the bust of
Pope Benedict XIV and a 16th-century sculpture depicting Spanish emperor Philip II.
Traces of the Spanish civilization remain visible in the room vaulted ceiling covered with frescoes depicting the royal
coats of arms and in the lunettes decorated with heraldic devices of noble families.
Significant works:
Giuseppe Arcimboldi, Giuseppe Meda (embroidery designers),
Scipione Delfinone, Camillo Pusterla (embroiderers),
Fresco - dating from 1555 - depicting Spanish royal coats of arms
Gonfalon of the city of Milan, dating from around 1565, multicolour silk embellished with gold threads. From
Milan's Cathedral.
Consecrated by Milanese cardinal Carlo Borromeo in 1566, the gonfalon celebrates Saint Ambrose, who established
and became the foremost advocate of the Ambrosian Church. The banner is richly illustrated with famous scenes from
the life of the Saint, among which some of his miracles.
A copy of this exhibit is housed within Sala Alessi, at Palazzo Marino.
----------------------------SALA DELLE ASSE (ROOM 8)
The 8th room on the ground floor of the ducal courtyard takes its name from the wood panelling lining the walls (the
asse), which was placed within during the Sforza Age. This room was decorated by Leonardo da Vinci, who had been
commissioned, together with Italian architect and painter Donato Bramante, by Ludovico il Moro (ruled over Milan
1480 through 1499) to embellish the city according to the distinctive features of the Renaissance style. Originally
planned as a reception room, Sala delle Asse features a vaulted ceiling covered with a fresco depicting densely flowered
branches of 16 trees entwined with a long golden string, trompe l'oeil details revealing the sky, the Sforza coat of arms
in the middle and blue banners bearing traces of golden inscriptions in the four pendentives.
Painted by Leonardo in 1498, this magnificent fresco was found by Paul Muller Walde in 1893 and subsequently
restored. A fragment of a monochromatic fresco depicting a tree trunk and roots penetrating into the rocks, of which
Leonardo has been referred to as the author, was found within Sala delle Asse, in 1956
Significant works:
Branches entwined with golden string, vaulted ceiling details
Monochromatic decoration, detail
---------------------------SALETTA NEGRA (ROOM 9)
A passageway from Sala delle Asse leads to the Ponticella, the elegant wing built above a bridge crossing the moat that
once connected the ducal apartments to the Ghirlanda fortifications. Commissioned by Ludovico il Moro to architect
Bramante, the Ponticella features arcades on one side and contains two small rooms known as 'Salette Negre' (black
rooms). Chronicles of the castle give us information about the reason for this name by reporting that Ludovico il Moro
withdrew in mourning there after the death of his wife Beatrice d'Este, in 1497.
Room 9 displays fine examples of 16th-century sculpture, among which works by Agostino Busti, better known as 'il
Bambaja', the foremost among Lombard artists of the period, and others such as Cristoforo Solari.
Most probably, the castle owes the elegant decoration of this room to Leonardo da Vinci. Unfortunately, no traces of
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frescoes have remained. Only some portraits of the Sforzas from the Casa degli Atellani situated in Corso Magenta,
painted by an unknown artist are still visible in the lunettes.
Numerous fragments of sculptures by Bambaja are placed on display shelves within the room. Most of these exhibits
belonged to the tombs of Gaston de Foix - of which many elements can be admired when visiting room 15 - and
Michele Marliani, as well as to the sepulchral monument Birago, originally placed within the early Milanese church of
San Francesco Grande
Significant works:
Agostino Busti called il Bambaja, Tomba Birago from early Milanese church of San Francesco Grande, marble
sculpture dating from 1522.
Signed and dated by the artist, the Tomba Birago has been partly reconstructed within the Cappella Borromeo in Isola
Bella, Lake Maggiore. Castello Sforzesco museum houses a finely sculpted pilaster engraved with the Birago family's
coat of arms and the artist's name, as well as two other marble relieves.
15th-century Latin inscription describing the room as 'atra', meaning 'black'. It was found in 1914.
The inscription reads: ATRA IN FINE SUO FIUNT OMNIA QUAE INTRA MORTALES FELICITATEM HABUISSE
VIDENTUR: all things that make mortals happy eventually become grievous
-----------------------------SALETTA NEGRA (ROOM 10)
The second black room offers a rich overview of Renaissance sculpture by displaying a wide range of exhibits from
Lombardy and Tuscany, among which those depicting Saints Nazaro and Celso - most probably sculpted by Cristoforo
Solari - definitely deserve a mention. Small-sized exhibits from important religious buildings are placed in a display
case within the room.
Focus should be placed on some statuettes portraying deacons, which boast an excellent provenance having been
originally housed at Milan's Cathedral. Lunettes with family portraits depicting the Sforzas hang on the walls.
Bernardino Luini was first referred to as the author in the early 20th century, but the lunettes are currently attributed to a
Lombard painter, whose name is still unknown.
--------------------------SALA DEI DUCALI (ROOM 11)
Originally a wing of the ducal apartments built for Galeazzo Maria Sforza and his wife Bona di Savoia in 1468, this
room is named after the exquisite decorations featuring the family coat of arms with the Duke's initials GZ MA in gold
on a blue background that cover the vaulted ceiling. Deeply interested in heraldry, Galeazzo Maria commissioned the
paintings in the lunettes, which also depict coats of arms.
Room 11 boasts a rich collection of 15th-century sculptures from Lombardy and northern Italy, among which a valuable
exhibit called 'Madonna con Bambino', sculpted by one of Jacopino da Tradate's followers. Within this room, various
exhibits ranging from frescoes to bas-relieves, marble and terracotta statues to fragments of architectonic elements offer
a comprehensive overview of the 15th-century styles, which exquisitely combine features of the late Gothic with the
Renaissance art. Greater focus should be placed on an enchanting bas-relief depicting scenes from the Life of San
Sigismondo sculpted by Florentine artist Agostino di Duccio, which was acquired from the Brera Academy of Fine Arts
in 1812.
Significant works:
Sforza Coats of Arms, fresco dating from around 1468
'Madonna con Bambino' (Virgin Mary with Child), marble sculpture dating from the first half of the 15th century,
probably from Milan St Ambrose 's basilica, sepolcro Della Croce. It has been attributed to a follower of Jacopino da
Tradate.
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Interesting features of this exhibit include Mary's mantle, which provides a fine example of the late Gothic exquisite
style combined with Jacopino da Tradate's high-level technical skills
Agostino di Duccio, A scene from the Life of San Sigismondo, marble bas-relief dating from 1452 or later. It was
acquired from Rimini's Tempio Malatestiano
A fine example of Renaissance sculpture from Tuscany, which is worth a particular mention for the superb use of
perspective and astonishingly naturalistic details, this exhibit was originally placed upon the altar of the Chapel of San
Sigismondo within Tempio Malatestiano, in Rimini. The work was commissioned to Leon Battista Alberti by Sigismondo
Malatesta.
------------------------------CAPPELLA DUCALE (ROOM 12)
Passionately fond of music, Duke Galeazzo Maria Sforza (ruled over Milan between 1466 and 1476) invited numerous
musicians and choristers from the leading Italian and European courts to go to Milan to work at his court. Also the
project for the building of the Ducal Chapel was commissioned by Galeazzo Maria to Tuscan architect Benedetto
Ferrini. The frescoes inside were painted by a group of artists, among whom Bonifacio Bembo, Jacopino Vismara and
Stefano de' Fedeli, in 1473.
The room is decorated with images of saints standing in front of a balustrade on a golden background. The lunettes
depict the visit to Mary of the Announcing Angel. The vault is covered with frescoes depicting the Resurrection, the
Ascension, God the Father and Angelic Choirs.
Once used as a stable, the magnificent chapel was partly destroyed and its rich frescoes were seriously damaged during
the foreign domination. The former was reconstructed and the latter restored at the beginning of the 20th century. The
room currently houses few Lombard sculptures from the 15th century. The foremost among these exhibits is definitely a
handsome marble sculpture called 'Madonna del Coazzone'.
Significant works:
The Resurrection, fresco dating from 1473
Based upon a style probably akin to that of the Flemish school, this fresco depicts the Christ's sepulchre perfectly
covered, not uncovered as it would be in the traditional sepulchral iconography.
Pietro Antonio Solari, Madonna del Coazzone, marble sculpture dating from the second half of the 16th century
Commissioned to sculptor Pietro Antonio Solari to adorn the Fabbrica del Duomo, the statue depicts Virgin Mary
absorbed in prayer. A few details, such as her dress and hair braided in a long plait, recall the Renaissance Ladies'
fashion. The name 'Madonna del Coazzone' is derived from a local dialect spoken in Lombardy, the word 'coazzone'
meaning long plait of hair.
---------------------------SALA DELLE COLOMBINE (ROOM 13)
The decoration of this room was probably commissioned by Duke Galeazzo Maria Sforza for his wife Bona di Savoia,
whom he had married in 1468. Sala dele Colombine is covered with frescoes depicting a golden small dove flying in the
sun and bearing the words 'A BON DROIT', a French saying meaning rightfully.
Originally planned as a wing of the ducal apartments, the room today houses fine examples of Lombard Renaissance
sculpture dating from between the second half of the 15th century and the beginning of the 16th century, a
tremendously lively period for the arts in Lombardy, during which great sculptors such as Giovanni Antonio Amadeo,
Cristoforo Mantegazza and Antonio Mantegazza were actively involved in the works for embellishing Milan's
Cathedral and Pavia's chartreuse. Along with masterpieces by Amadeo and the Mantegazza brothers, within the room
are also other interesting exhibits attributed to their followers, whose name is still unknown.
Significant works:
Cristoforo Mantegazza, marble relief depicting Angels, dated to the 15th century, from a private collection that
belonged to Giuseppe Bossi (1777-1815)
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This exquisite, classical styled marble relief by Cristoforo Mantegazza recalls the national taste for antiquity that
characterized the Italian Renaissance culture. Interesting features of this exhibit include stunning perspective effects
Giovanni Antonio Amadeo, Tondo depicting the Nativity, marble, dating from around 1479, from the Basilica of St
Lawrence, in Cremona (formerly at Villa Sommi Picenardi, in Torre de' Picenardi, province of Cremona)
An element of a greater sculpture called 'Arca dei Martiri Persiani', which was first commissioned to Giovanni Antonio
Piatti and then completed by Amadeo, this tondo provides a good example of his style. Amadeo, in fact, mainly used
fragmented lines both in carving drapery and when engraving figures in his marble relieves.
--------------------------SALA DELLE ARMI also known as SALA VERDE (ROOM 14)
Within the magnificent room that has been known as 'Sala Verde' (the Green Room) ever since the 15th century, is a
large collection of weaponry, which the castle owes to generous donations made by Bazzero Mattei, in 1919, and
Bergomi Subert, in 1941, as well as to acquisitions from the City Art Museum and from Patrio Museo Archeologico
(the National Archaeological Museum). Unfortunately, most side-arms and firearms from the archaeological museum
were stolen during Milan riots, in 1848. The collection has recently been carefully arranged and comprehensively
catalogued.
The long room contains three gigantic marble portals from Florentine Banco Mediceo (15th century) and from Palaces
Bentivoglio and Orsini-Roma (16th century). Among numerous exhibits displayed in chronological order and according
to the various kinds of weapons are armours, morions, medieval helmets, swords and sabres. The foremost among these
weapons is definitely Austrian general Count Radetzky's parade sabre, which he used to put down Milan riots in1848.
Architectonic elements and sculptural fragments surviving from the Renaissance hang on the walls. Particular mention
should be made of a terracotta sculpture called 'Trionfo di Divinità Marine', a frieze depicting scenes from the Bible
from the church of San Satiro, engraved inscriptions and coats of arms.
Significant works:
Portale del Banco Mediceo, marble portal dating from around 1463, via dei Bossi, Milan
The Palace, which elegantly stood in Via dei Bossi, where Milan Exchange Bank headquarters were situated, was built
to seal the strict alliance between the Sforzas and the Medicis. The latter, in fact, had delegated Pigello Portinari to go
to Milan to commission the portal and even the palace. The splendid portal features the portraits of Francesco Sforza
and Bianca Maria Visconti, as well as heraldic symbols such as the Sforza's coat of arms, a greyhound under a pine
tree and an eagle.
Medieval helmet, breastplate and shield dating from the 17th century
Suit of armour dating from the 16th century
Sabres and firearms, among which marshal Radetzky's parade sabre is visible
Swords dating from between the 16th and 19th centuries
--------------------------SALA DEGLI SCARLIONI (ROOM 15)
Planned as a meeting venue in the 15th century, the vast official room was named after a peculiar ornamental motif
consisting of red zigzag lines on a white background depicted in the frescoes covering its walls and once also the vault.
Within Sala degli Scarlioni are provided examples of the most significant sculptural masterpieces from 16th-century
Lombardy, among which a handsome sculpture called 'Busto della Mora' (Bust of the Negress) , whose author is still
unknown, the tomb of Bishop Bagarotti and the sepulchral stone of poet Lancino Curzio by Bambaja.
The most important among the exhibits on display are definitely the funerary monument of Gaston de Foix by Bambaja
and Michelangelo's Pietà Rondanini, which great Tuscan artist Michelangelo Buonarroti left unfinished. Michelangelo's
masterpiece stands in a display niche in the wall, separated from the other exhibits.
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The funerary monument of Gaston de Foix undoubtedly shows Bambaja's great technical skills, while Pietà Rondanini
reveals the hand of an elder Michelangelo, who worked on it until shortly before his death. It is worth pointing out that
the room has been rearranged during the 1950s in order to accommodate Pietà Rondanini, which the museum acquired
in 1952.
Significant works:
Agostino Busti, better known as il Bambaja, Funerary Monument of Gaston de Foix, marble, dating from between
1517 and 1522, from Milan church of Santa Marta
The grandiose monument was commissioned to Bambaja by Odet de Foix, Milan's governor and cousin of French
leader Gaston de Foix, but was never completed because the French troops were defeated and had to leave the city.
Various elements were acquired by either public or private collections. The castle museum currently houses most relief
work and decorative elements, even though the monument has not been reconstructed according to the original project
yet.
Michelangelo Buonarroti, Pietà Rondanini, marble, dated to 1564, acquired from Roman family Vimercati
Sanseverino, in 1952
Named after one of the owners, Michelangelo's last work is quite unusual to some extent, as it depicts Virgin Mary
standing with Jesus in her arms on a funerary altar dated to the Roman Age (late 1st century AD). The base, which was
probably readapted to better support the sculptural group during the Renaissance, portrays Roman emperor Marco
Antonio and his wife Giulia Filumena Asclepiade
Bust of the Negress, marble sculpture, dated to the first half of the 16th century, acquired from the Archinto collection
Sculpted by an exceptionally skilled artist from Lombardy, whose name is still unknown, the Bust of the Negress
probably derives its name from the dark colour of the marble.
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