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Cultural Sightseeing Tours in Milan

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THE LEONARDO'S NAVIGLI TOUR (half day)

Itinerari Navigli - Milano

Basilica Sant'Eustorgio - Milano Itinerari

 

Porta Ticinese - Milano Itinerari

 

Chiesa di San Vincenzo in Prato - Milano Itinerari

Chiesa di San Vincenzo in Prato - Milano Itinerari

 

Chiesa di San Cristoforo - Milano Itinerari

Chiesa di San Cristoforo - Milano Itinerari

Echoes of Giotto’s art and basilicas reflected in the waterways
The "Navigli" of Milan built with the contribution of Leonardo’s genius; reflecting basilicas in the water and the indelible marks of Giotto’s artwork.

Basilica of Saint Eustorgio
The Basilica was for many years an important centre for pilgrims on their journey to Rome or the Holy Land, because it was the site of the tomb of the Three Magi or Three Kings. Probably founded in the 4th-5th centuries, its name refers to Eustorgius I bishop of Milan. The translation of the relics of the Magi to Milan is attributed to him. The church was later rebuilt in Romanesque style. In the 12th century, when Milan was sacked by Frederick Barbarossa, the relics of the Magi were appropriated and subsequently taken to Cologne. It was only in 1903/4 that fragments of the bones and garments were sent back to Sant'Eustorgio's Basilica. Nowadays they are in the Three Kings altar nearby the empty Three Kings sarcophagus. Still today, in memory of the Three Kings, the bell tower is surmounted by a star instead of the traditional cross.

Ticinese city Gate Milan
The ancient Porta Ticinese gate, part of the 12th century city walls built after the destruction wrought by Frederick Barbarossa, is the only remaining gate along with the arches of Porta Nuova gate. The present state of the gate reflects the work of Camillo Boito (1861-65) who isolated the surviving structures and completed the missing parts with his own interpretation.

Church of San Vincenzo in Prato
The first church was founded by the Lombard king Desiderius in 770, who dedicated it to the Virgin Mary. Later it was entitled to St. Vincent, when the latter's relics were found in an urn in the crypt, together with those of St. Quirinus and St. Nicomedes (859) and St. Abundius. The name in Prato derives from its location in the "Prata" area owned by bishop Odelpertus. In 806 a Benedictine convent was added to the church; in the late years of the same century and in the early 10th century the church, in dismaying conditions, was rebuilt, but with similar appearance. The octagonal baptistery on the exterior, on the left, dates to the 9th century, and includes a column-shaped font which probably earlier. The convent was suppressed in 1520 and in 1598 the church was restored and turned into a parish. The basilica measures c. 40 x 20 m, and is in brickwork. The interior is on a nave and two aisles with wooden spans ceiling. The columns are from different ages. The elevated choir ends with a large apse. Under the presbytery is the crypt, which has also a nave and two aisles divided by ten small columns with sculpted capitals. San Vincenzo lies on the founding of a Roman temple or oratory, which was located within a Roman necropolis, still visible in the external left walls of the church.

Church of San Cristoforo - Along the Naviglio bank
The complex is composed by two churches. The left one is the most ancient, which is know to be a Romanesque reconstruction of a far more ancient edifice. The Romanesque edifice was again rebuilt in the 13th century, when the Naviglio Grande was excavated. In the mid-14th century it received the gothic portal and rose window. The gothic church was flanked by a hospital, built around 1364. The more recent church, which currently is united to the other and gives the appearance of a single edifice, was constructed along the Naviglio bank in the 15th century, called Ducal Chapel. The Romanesque church is a small hall ending with a small semicircular apse. The facade has a richly decorated brickwork portal with a gothic rose window. The facade of the Ducal Chapel has a simple portal flanked by gothic mullioned windows, according to a model established by Guiniforte Solari, and traces of frescoes of Saints from the 15th century. The current bell tower is a 15th century enlargement of the original one, with conical cusp and mullioned windows.

 
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