Inside the Milan Cathedral!

The Milan Cathedral (Duomo) was built in several stages over six centuries, beginning in 1386. This extended building project resulted in creating a design that blended architectural influences from Flamboyant and Perpendicular Gothic to French Rayonant, Roman Renaissance, Catholic Reformation and Neo-Gothic styles.  Strangely though, these influences all seem to come together to create a stunning cathedral.

Be sure to read more about the exterior and façade in our post A Spectacular View: Up Among the Spires & Statues of Milan Cathedral. 

The post below focuses primarily on the interior of the cathedral which is equally as beautiful! 

In general, the notable periods of construction of  the Milan Duomo can be divided into periods:

1386-1387 Archbishop Antonio da Saluzzo’s plan for a grand new cathedral (on the site of an older Basilica) dedicated to Maria Nascente.

1387-1447 Gian Galeazzo Visconti, Lord of Milan set up the Veneranda Fabbrica del Duomo tasking the Fabbrica to supervise the design, building and conservation of the Milan Duomo.  He also chose to use Candoglia Marble to construct the cathedral. Architects, sculptors and workers from Central Europe flocked to build the cathedral and probably contributed local influences to their creations.

The cathedral has five large naves divided by fifty-two pillars that support the cross vaulted ceiling.

The question of how to complete the windows with glass arose with the completion of the first architectural structure, the north sacristy, and at that time, colored glass was installed in geometric designs. 

1450-1520  The Sforza era produced much of the interior work.  The building of the nave and aisles reached the third from the last bay and more stained glass windows were installed.

In 1403, the decision was made to install “historiated” stained glass. The stained glass played an important part in the cathedral portraying bible characters and stories to help inform the largely illiterate congregation.

In the first half of the 16th century, it became necessary to repair all the glass work. In this period, various commissions were given to artists including Giuseppe Arcimboldi who created numerous designs for the windows.

The work of Arcimboldi and of Pellegrino Pelegrini marked the beginning of a new way of working which clearly distinguished the design phase, entrusted to an artist acknowledged as master painter from the production phase, carried out by a skilled master glass-maker.

From 1500 to 1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of 15 statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior continued to remain without any decoration, except for the Guglietto dell'Amadeo ("Amadeo’s" Little Spire"), constructed 1507-1510.

1560-1650 The Borromeo era was greatly influenced by the Catholic Reformation with the installation of large paintings of San Carlo called the “Quadroni” and the addition of the wooden choir. In 1571, Archbishop appointed Pellegrino Pellegrini as chief engineer and he designed and supervised much of the cathedral interior including three magnificent altars. 

1650-1800 The crossing was completed and the main spire of the Duomo was completed and topped by the golden Madonnina statue

1800-1900 The façade was completed and interior ornamental elements were completed. 

Stained glass processing technique had remained almost unchanged until the 19th century when, with the cultural renewal brought about by Lombard Romanticism and the “Gothic Revival”, Giovanni Battista Bertini and his sons worked using a new technique of painted enamel decoration.  They continued to use the earlier model of historiated stained glass in their designs.

During WWII all the stained glass windows were taken down and placed in a crypt to protect them from the bombings. Immediately after the war, the stained glass windows for the facade were made.  They were designed by Giovanni Hajnal.

There are a number of particularly notable elements in the Milan Duomo that you absolutely shouldn’t miss!

The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant ”atlantes” (a support sculpted in the form of a man) covered in copper and bronze, and two large organs.

The gorgeous marble in-layed floor has a bronze Meridian Line, with Zodiac symbols placed appropriately along its length.  It continues up the left hand wall.  

At the left of the altar is located the most famous statue of all the Cathedral, the Saint Bartholomew Flayed (1562), by Marco d'Agrate, the saint shows his flayed skin thrown over his shoulders like a stole.

High on the fluted columns, beautifully carved statues peer down at you and what appears to be carved ceiling vaults are actually painted in Tromp l’oeil (trick of the eye) style.

Many elaborate altars dedicated to saints, church nobles and prominent clergy decorate the transepts and aisles with their fabulous statuary, intricate carving and bronzed and gilded elements.

The interior of the Milan Duomo is a jewel box of surprises, so explore it slowly and take in all its delights!