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Gina Pischel Fraschini - Signals on the art of the Province of Milan on the art of the Province of Milan - Relation of the Catalogue of the objects To the term of its hard work, logically and spontaneously s' points out in the compiler of the catalogue of the art objects the requirement to rise from the shapeless copy of the data collected to a synthesis, and to trace therefore it generates them to them characteristic of the art in the covered zone. The catalogazione job has inborn the tendency to the frammentariet?d to the puntualizzazione of the every interest in single catalogued work. One joins that, for its nature - given the finalit?mministrative that are associated to those of I winnow critic -, it implies the systematic exploration of all the centers of a Province, in order to trace and to describe also those secondary works to you, if not quite negative for the art, that they deserve one conservation, not foss' other that for being the survivors. The long enumeration of anonymous and impersonal works becomes in such a way unavoidable, for pi?i an anodyne one and rozzo to make popolaresco (that of I shave cover those values of creative autonomy and of frank originalit?he allows to consider them genuine products of popular art) or a conventional and weak riecheggiamento. Spontaneous the need of sceverare between much collected material rises therefore ci?he appears truly meaningful for the artistic history of the visited region, emphasizing of the importance with a criterion of qualitative selection that the catalogazione job. I would dare to assert that this requirement of never urgent synthesis?i?he as far as the Province of Milan, of which the?est?oncluso job of collection of the material of the catalogue. Radicata E' in fact the opinion that ago to consider the Province of Milan like a zone artistic much poor one some justification only if one let us to traviare from stolto a quantitative criterion, taking for base the great number of churches if not quite recent at least insignificant, rimaneggiate and empty of pregi artistic, or if weight had to be given highly summarized and Ch? under this aspect - it lacks in truth much often to the churches scattered in the uniform Lombardic plain and the imponenza of that popular, spontaneous art in its sincere devozione, that they conserve instead many churches of our alpine valleys difficultly finds respect for the past, for the smania - characteristic of the past century and a relatively well-off population - of embellishments and rammodernamenti that it has given and d?ssai often it yields of pessimo taste. Of forehead to such negative opinion, even if due to a superficial prevention, is instead necessary to rivendicare the importance of the art of the From Milan one. The Province of Milan?icca of works and monuments that not only integrate the art and the artistic currents of citt?i Milan (like sar?osto in full light when affronter?a movable and real estate catalogazione of the citt?mbrosiana) but that - above all for the painting - they assume one cos?mprescindibile importance that, neglecting them, the panorama of the from Milan art would succeed monco and insufficient. With ci?arebbe ingenuous to attend or to expect from the catalogatore of the sensational discoveries or the unknown detections of great capacity. If ci?arebbe absurd for every other Catalogue?i?er the that one of the Province of Milan, zone wide studied merit of one dear formation of local students of second met?ell' the 1800's - from the Mongeri to the Caffi, the Beltrami to the Sant' Ambrogio, in order not to remember that greater and the pi?nfaticabili - of having, with patient modestia and invincible passion, explored, inquired and illustrated monuments and works of the Province creating a plentiful one and documented. Of it then they have been taken advantage, carrying a pi?cuta to you and agguerrita analysis, critics the Italian and foreign us of this century, from the whose searches have drawn origin those fundamental ones and systematic trattazioni of the Lombardic art that above all gave to Toesca for the painting, the Rivoira and the Porter for the architecture, the Malaguzzi-Valeri for the smaller limbs, and, in shape to pi?lementare, the Vigezzi for the sculpture, beyond, s' mean, the parts dedicated to the Lombardy of the greater ones deal you of art history carefully and deeply studied, the new contributions of the Catalogue they cannot be that he limits you of number and importance. A criterion of protica nature (that it finds however a justification in the ascertainment that, also in contemporary periods does not appear here tight and constant nexuses between several the artistic aspects) advises to separated examine the smaller painting, sculpture and limbs, on which the Catalogue it has carried the just analytical one, descriptive and critical contribution. Famous E' of not to be understood them importance the from Milan contribution to the Romanesque painting: but how much better remains finds however pi?ella Province that in citt?i Milan. If improvvido and a radical restoration of the past century of it had too much not altered the original characters, of exceptional pregio they would be frescoes to it. XII - on the left wall of the navata one they of the basilica of Saint Peter to Garlic sauces centers. in perspective, with riquadri to which s' they point out witness it turns them and feminine classicheggianti, it is carried out to the sommit?elle navate and of the Saint arc, they are ivi represents to you, in one advanced zone of the wall, between. God Father who imposes the right on Adam vivificandolo, and God Father who draws the titubante figure of Eva from the flank of Adam who lies reversed in its tormented sleep sommariet?la composition appears free from stilizzazioni bizantine and, more better than in the also analogous ones he does not fresco of the navata one of Saint Vincenzo to Galliano, you a location of the characteristic and expressive gesture is found that reveals pi?ttoniane infuences that carolingie. Singular?ure the energy and the sciltezza with which the anonymous painter. One wraps decorative to meandri, within which they are riquadri with paleocristiani symbols, divides this from the inferior zone, in which it frescoes to it - fragmentary and nearly abliterati - are ollowed. On the background of highly summarized architectures cupoliformi, sisvolgono the Nativit?la Visitazione and the Annunciation, with figures pi?inute and less obvious that in the advanced zone, animated from analogous characterization. To the same artistic current figures belong of Know to you, groups of angels and fragments of fregi decorated in the Baptistry of said Basilica to you, much out of order and in part covered from rozzi fresco popolareschi of. But in they an other hand, poor and uncultivated, much free appears anch' it from the stilizzazioni bizantine, but impacciata in one schematic, static and conventional presentation, coloristicamente much poor. We must then come down to the end of the sec. XIII in order to find ulterior pittorici documents Romanesque, in the Church of Saint Francisco to Praises, to cos?Pare that to the 1288 they go back some Biblical scenes on the inner wall of the facade, badly decipherable, and carried out with a calligraphic one vivacit?he it recalls the miniaturistica technique. Of the end of the century?a raffigurazione of Saint Francisco who receives the stimmate ones, painted on a pylon of the same Church. the figure of the Saint repeats, with gravity, a iconografica tradition by now consolidated in a conventional type, paesistici elements of one dirupata assert themselves with singular amplitude and schematic desolation. Oltramontane, gi?olgenti infuences to the gotico, are melted here. Of rude effectiveness?a scene of the Baptism of Christ, painted on other pylon from an anonymous painter of the principle of the 1300's is stocky and has those characters of sommariet?opolaresca who contraddistinguono the May leave of fresco of Saint Francisco. but the work extension a energetic not free expressive concentration, in its volumetric deficiency, from some first manierismo gotico. same author, but pi?tatiche and archaistic, is the ieratiche figures of a Bishop (same You skillful pylon), of Saint Giacomo (V pylon. Of other hand, pi?ozza, not equally scevra from ritardatarie stilizzazioni bizantine, but rispecchiante however an analogous address, is the figures of the Salvatore within almond, of the Apostles and of It knows to you in the apse and the presbiterio of the church of Saint Bassiano to Lodivecchio, executed pi?ardi, cio?erso 1321, of the par still. This current finds one once characteristic expression in the decoration with the outlined one, but lively raffigurazione of four wagons hauls you from buoi that they transport lumber and stones, symbol of the local corporation of the boarii, in memory of the cooperation from it given to the reconstruction of the church. Very pi?onsiderevole of these works, still tied to a Romanesque conception?' contribution of From Milan to the painting of the 1300's vivificata. the much pi?ignificative works of those coeve of the citt?A little after the 1327 go back the two frescoes that they adorn the tomba of Antonio Fissiraga, in the skillful arm of transetto in a Saint Francisco to Praises derivation of the Tuscany art extension that one with the esequie of the noble lodigiano personage, adaiato on the cataletto in the humble one saio of terziario. But in it conventional elements prevail in such a way and weaknesses, in the static repetition of the figures, to leave to suppose that it is executed from a mediocre aid value?nvece the coevo I fresco advanced, of analogous way, Madonna in throne, under a edicoletta to gotici triangular frontons, adored from the Fissiraga in signorile custom that introduces the model of. Francisco who puts down it the hand on the head and gives. The figure of the Vergine combines a sure sense spaces them and one balanced grace. the scene?itratta with soida maest?a which the energetic sense of the line not lacking in gotici stilismi, very modulated volume of the draperies and the harmonic and sobrio colouring concur, to strong prominences and soft ombreggiature. And the composition extension gi?icure requirements of profondit?anche if the perspective assumes a decorative and colorful value here giottesche pi?correnti, to?ingolare as I fresco it, also for coloured the precious modulated one and the cake to vanish of rose-colored soffusioni, has a detached accent of senese derivation and denotes indeed one premature affinit?tilistica with the way of Peter Lorenzetti, serbando elements also described to you and realistic of Lombardic print. of senesi derivations (and here rather from the way than Ambrogio Lorenzetti)?ncor pi?vidente, also always concurring with Lombardic characters, in one posterior and pi?olumetrica Madonna with the Child on the pillar of access to the nail head of Saint Bernardino. Fissiraga, for how much with pi?uri conventional features, that they make to think probable the execution from part of local painters, the Clemente figures Saint and Sant' Elena (II pylon sin. Derivations giottesche, but appesentite from a popolaresca and votiva interpretation or travisate from stilizzati gotici manierismi, show instead many other figures of Know to you, of Madonne, nonch?e decorations of the times, executed in the course of the XIV sec. of this tramutarsi of the giottesca inspiration in poor Lombardic convenzionalismi that or they insert particular realistic, or they exaggerate the expressions and the gestures, or search diagrams stilismi, they go above all considers you the Crocefissione and the Michele Archangel, both on the first skillful pylon, the Visitazione (III skillful pylon) and one Madonna (II skillful pylon). They do not have particular pregi, in their compromise between giottesco plastic sense and rigid, insistent linearistici elements, two only and ritardatarie works that (however without doubts on their identification) do not exit from the anonymity: the ingenuous votiva figure of Saint Giovanni Batiste of Antonio from Praises, 1373 (YOU pylon sin. of Saint Lodovico, Taddeo from Praises, the 1392 (pylon sin. Various character from that one pre-eminent votivo that has frescoes it. Francisco, denotes the immense one frescoes, a time in the Church of Saint Michele, to Monza, hour in the sagrestia of the Dome. (a encircled clergyman celebrating from profane personages, from Knows to you, from the same Redentore and the Vergine)?scuro. is that you the consacrazione of the Basilica of Saint Michele is wanted to be ravvisare on the Gargano Mount, it is that a rare example of rappresentazione is wanted to be considered of. Also in its giottesca derivation I fresco it possesses one plastic requirement and one faced realistic descriptive vein to met?el the XIV sec. Works very greater pregio of those indicated document the vital efficiency in the From Milan one of the giotesche currents and the singular contribution that the Lombardic ones with luministico-chiaroscurali searches that introduce values ignoti to the same ones follow to us from Tuscany of Giotto, bringing cos?Vengono first of importance bring you and of time it frescoes it of the Abbey of Viboldone. Giving laborious critical garment to the generic supposizioni of local authors, the Suida s'?ndotto to identify in Giovanni from Milan the author of the paintings of the tiburio and to they of it it reconnects others, of which I toast we will speak, supporting in such a way one immense and dear attivit?n native land of the Lombardic master, before its stay fiorentino. invogliante opinion?uttavia senz' other give scartarsi. from chronological reasons -?ocumentata the presence of Giovanni from Milan to Florence from 1350 to 1366, therefore in the period to which they go ascribed the various cycles of Viboldone, Solaro, Mocchirolo - but from stilistiche reasons and the greater one pregio that they have it frescoes it Lombardic compares you to the works flourishing some of Giovanni give. A examination pi?ttento of frescoes door in fact to scinderli in various cycles, next bens?el time, but of various hand. The pi?edele to the giottesca tradition, and, pi?articolarmente, to the padovane works of the master - s?a to justify the hypothesis that it goes searched between it follows to us padovani of Giotto -?l master that, in 1349, painted on the walls of the tiburio. concrete and articulated I enunciate of the figures?a composition to lunetta in the arc, with the Madonna in throne, placed side by side from the Michele Archangel and from It knows Giovanni to you Batiste, Bernardo and Nicol? venerata. The contrapposta lunetta with the Universal Judgment?na schematic reduction of the giottesco prototype of the Nail head of the Arena with realistic searches, provincial expressive excess, in the group. On the sidewalls - with the participation of a poor aid - fragmentary cortei of patriarchs and blessed souls escorted from guerrieri and adduced angels to the sky from the Vergine to from Saint Giovanni are noticed. Unfortunately the figures are much out of order of Know to you and of friars in oration, high and decorate stalls to you, in a conventuale inside, beautiful, sure and agile high composition of novit?senso structural strengthens these compositions in the which?vidente an insistent realistic search, than null it removes to the wide breath spaces them. ?l most delicate and nearly precious sense of the color, treaty with ductile technique, in clear and you blow tonalit?con a freschezza to us of vanished inks and a morbidezza of chiaroscuro, that they decidedly leave ago the way of Giovanni from Milan, fulvi and the dense chiaroscurali prominences. hand that, on the Saint arc, painted the Crocefissione and the round ones of Adam. A high dramatic sense predominates here that, with greater realistic insistence and an analytical spirit of all the Lombardic one, search and it characterizes. And also luministici values are asserted here, in chiaroscuro warm, to soft shadings golden, of the par far away from coloristiche of ignoto the master demonstrate the snella to it, evocative figure of Eva, back sight, from the rose-colored and Argentine meats, modulated with one. The third cycle of Viboldone, cio?li frescoes with the scenes of the life of Christ in the time and on the walls of the last span of the greater navata one, executed towards 1360, it instead introduces us a painter pi?reve of shapes and of coloured that it tries prominence on the neutral and dark bottom, eminently novellistic painter, pi?ntralciato from gotici manierismi of the previous one, which?ssai analogous risenta in the senesi colouring, infuences, it adheres itself to provincial outlines, whose just?tata characterized one probable derivation. Other minors fresco of the lateral navate ones, pi?ardi, show instead irretirsi of giottesche derivations in manierismi and gotici stilismi and a realistic and descriptive taste, of frankest print. The pittorici cycles of Viboldone are inseparable from those, are executed between absidale wall, find again, are also with increases in weight and repetitions, the same dramatic realism, the same expressive energy, same intelligent and the delicate one chiaroscuro of the Crocefissione di Vibodone. I think instead that all the others fresco of the small oratory are. On the left wall of the presbiterio the history of Gioacchino and Sant' Anna belong to the same master of the Crocefissione, whose realism?orretto from a plastic sense clearly giottesco accent and from soft chiaroscuro that she enlivens the delicate inks the elegant Caterina. Saint also belongs opposite instead history of the Vergine - between which the?articolarmente remarkable Adoration of the Magi for the rich customs - have the same ones marked the rhythm stilismi, the same preziosismi chromium plated to us with senesi infuences, enunciating on dark and neutral bottom, and the same provincial schematismi of the master. Leggermente front (between 1355 and 1360) is frescoes it of the oratory. Two masters collaborate here: one, author of the God Father who solemn troneggia in the time and of the Crocefissione in the bottom wall, also not being able itself to identify in the author of the Crocefissioni di Viboldone and Solaro, of?tilisticamente analogous in the realistic dramatic sense, for how much it comes dominated in one pi?fficace. he asserts himself for chiaroscurali values, using one characteristic vanished ombreggiatura fulva and cuprea that affectively comes near Giovanni. Instead the others he frescoes on the walls - Sant' Ambrogio that drive away the Arianes. the wedding of Caterina Saint. the Porro family in rich fits closely customs to you knelt down in devozione ahead the Vergine - an other and new Lombardic master reveal us - much various but not sure inferior to the collaborator - from the incisive and sinuosa line and tenuous the most delicate colouring, with predominion of amber white men, found from characteristic ombreggiature incarnated verdoline or of an light one. a court ideal seems to inspire the painter in the interpretation of the elegant ones and fits closely customs to you that inguaiano its gentle figures, of which?ndimenticabile the raffinatissima and stilizzata Saint Caterina. The cycle of Mocchirolo finds one pi?arda (approximately 1369) continuation in the oratory of Stefano Saint in close Lentate. the Crocefissione, per?enza the same dramatic stringatezza, pi?viata from particular narrated to you, and with provincial increases in weight. To the master who painted on the sidewalls of Mocchirolo - with the participation of an aid - goes instead assigned the scene of the Porro family in adoration of Stefano Saint which a winged stuolo of angels brings homages and the figures of Know you of the presbiterio, than in their typical search of rich signorili customs, repeats the same elegant stilismi and the same coloristici and luministici preziosismi of. The history of Stefano Saint in the navata one are instead of a pi?cadente painter and popolaresco, not insensitive to veronesi infuences, whose novellistic requirements esplicano in an ingenuous and static presentation of personages, impreziositi from realistic particular, in schemati to us inner without profondit?d in ingenuous and highly summarized paesaggi.XIV last propaggini of these the many vital currents of giottesca origin, enriched in From Milan from the cos?elicati ones and mature luministico-chiaroscurali values, come to get exausted themselves, prevailing other fragments of the nail head of the Crocefisso of the church of Trezzo, last giottesche suggestions impoveriscono and they weight down in rozze and rigid shapes popolaresche. in the figure of Saint Elzeario (III pylon.) and in other consimili of Saint Francisco to Praises they are overwhelmed from gotici manierismi and from twisted elements linearistici. in it lives history to us of Saint lodovico from Tolosa, in the sottarchi of the left navata one of the same church, prevails a novellistic sense of miniaturistica derivation, than. The refined and signorile taste that spirit some of frescoes of Mocchirolo and Lentate marks in its pre-eminent values decorated to you, of delineating stilizzazione and chromatic preziosismo, the passage, without bruschi contrasts, to those shapes of first the four hundred that are red-establish to the "international current". Optimal example of this blanda transition is the image of Caterina Saint on the WAYS skillful pylon of Saint Francisco to Praises, operates of the principle of XV sec. the customs, delineates to you with sinuose curves, dealt with most delicate coloured from the tenuous shadings, recalls in theirs flourishing giovinezza, the sfarzo of the customs and of beautiful hairdos, the images of the "tacuina sanitatis", virtue of the Lombardic design and the miniatura by now this taste prevails, demonstrates to several other figures to it of Saint Francisco that variously are strained to imitate the refinements of such. An analogous stilistica squisitezza and one as much ricercatezza of custom, but with greater gotico taste in the marked the rhythm lines and calligraphic, denote, always on the principle of the century, the Madonna with the Child on according to pylon of right in Saint Francisco to Praises, gi?utta permeated from the taste of the international current, in the bloomed mantle white man and the rose-colored tunica with cliff of ermellino. Other aspects of this, but with pi?ndividuati characters and pi?rossimi to the Lombardic masters of the time, show a Madonna with a spectral Sant' Antonio and the offerer on II the pylon of sin. in which the gotica esasperazione of the architectonic particular of the throne, the draperies and the design it spiccatamente recalls the twisted way of Franco and Filippo de Veris. and, always in the third or fourth decade of the 1400's, a Christ crocefisso and a series of Know on the external facade of the abandoned church of Saint Maria the Red one to you near Cusago, than, in the elegant shapes and the soft colouring, they remember the taste of. Pi?ospicuo and the famous monument of the international current in Lombardy?ostituito from the immense and complex cycle of history of Queen Teodolinda, painting between 1444 and the 1450 from the Zavattari siblings. The dramatic sense, the requirement spaces them, the same esulano novellistic effectiveness from these paintings, than they are be annoyedded of the presentation, of a searched elegance, fastosi personages in custom with a fiabesco and descriptive sense, to which the coloured primaverile concurs mirabilmente, tempestato of gold and gems, that it satisfies the compositive deficenze. All - embassies, receptions, raids by horseback, banquets, esequie - it becomes pretest for sviarsi to crowd gustosi particular, exquisite fashionable little figures, gold, fregi and ornaments. Iconografico Pi?nteresse that pittorici values introduce fragments with personages in custom, before transports in the Museum of Legnano from one signorile house to you of met?el the century. Manierismi gotici, kinsmen to povert?opolaresca of interpretation, permangono tired in many frescoes votivi or decorated you of the II. If in they it appears timidly and nearly some I accidentally point out of transition?aro to find, in the schematicit? crudeness that marks them. to come down until 1477, to frescoes with painted history of Saint Bernardino from Gian Giacomo from Praises in the nail head omonima of Saint Francisco. And also the?cclettica and weighted down solution from the mediocrit?tilistica of the local painter who, in its the ingenuous and laborious narration, fuses Lombardic elements realistic and described to you (than particularly insists here on the presentation of customs), padovano-mantegnesche reminiscenze and elements you show and plastics to us from which the not?stranea infuence of the Masolino di Castiglione Olona, for how much far away. While while Milan, by now alive center of artists and searches, returns to become the center propeller, in the single Province on the end of the century states luminosity transition symptoms turns with the prophets of the test?enzionata nail head, next to the way of the master of the sforzesca shovel, we find again that singular commistione of realistic elements and disegantivi Lombardic and of vague it points out. of transition?ure the legnanese Gian Giacomo Lampugnani. first its paintings, at all popolareschi (as I fresco it votivo in S. Maria of Thanks to Legnano) he passes in those of the Church of Saint Magno (of II the decade of the XV sec.) to one ingenuous and timid style that?na ecclettica fusion of the various ways of the preleonardeschi masters: from the sense it spaces them and plastic of the Foppa, to the structural conception of the Butinone, to the bergognonesca grace, and sinanco to some episodic accent. Also transition work is, to the Museum of Praises, frescoes it with history of Saint Giovanni Batiste, removed from the nail head omonima of the Incoronata di Lodi, where they came painted in the last decade of the XV or to the principle. In the rudezza and impacci stilistici of ravvisano the main anonymous person however the Lombardic ecclettici elements, it inspires to you from the Butinone above all, but anch' they not of all the free ones from the architectonic sense of the space of the Foppa and from some bramantiniana derivation. The arrogant table of the Bergognone in the church of Melegnano, representative the Baptism of Christ, all dominated most delicate tonalit?rgentine, in its melanconica and esile grace, and in its veiled gathering?orse the pi?aratteristico and perfect example of the so-called one of the date (than is inclined to think 1496) removes a precious term of reference for the dating of the posterior tables of the Incoronata di Lodi, that they mark the complete overcoming of such "period gray". They are of the posterior par to the large one fresco of the Incoronazione di Maria who the Bergognone painted between 1498 and 1500 in the washbowl of the greater nail head of the Incoronata and that it came Barbarian destroyed to the end of the XVII sec. When it came erected the baroque chorus tables - Circoncisione and, Annunciation Visitazione Adoration magi - show the maturit?tilistica flood of the Lombardic master catches up here, it is in the intimate composition of the scenes that in the background architectonic or paesistici, a sure mastery of the space and a warm, sturdy colouring, of delicate chiaroscuro, than d?na famous of garvit?lla customary maest?eligiosa and to the candor. It convene to point out here to that one lateral and provincial current that, in the second and the third decade of the sec. XVI, the siblings Albertino and Martino put into effect to Praises and in the Lodigiano Public square, constituting the first generation of one widely operosa family of artists. ?na votiva Madonna of 1509, executed in the Incoronata di Lodi, on a commission basis of a Trivulzio, still impacciato and raw job, where beside the pi?ggraziate figures of Albertino those pi?igorose and incisive of Martino appear, but still poor and inarticolate. It must per?enire to the great polittico store clerk from the Berinzaghi in 1513 for the Incoronata di Lodi, in order to pick the stilistiche characteristics of the two siblings, which will be manifested then, in a customary one and intimate collaboration, in the beautifulst polittici of Castiglione d' Adda and, in native land, those of Agnese Saint and of the placidit?rovinciale Dome, a po' trasognata, Albertino is rocked in one sweet and marked the rhythm grace of peruginesca-leonardesca-bergognonesca derivation (than, in pi?he not in the tables of Cavenago d' Adda or of the Museum of Praises, raggiunger?l capolavoro in the evocative serico banner with the Incoronazionedella Vergine, behind the altar of the Incoronata di Lodi), while Martino, with vigorous figures pi?ozze and it distinguishes for a warm and tonale colouring, of Veneto-bresciana origin, than that first votiva tablet it did not possess of the brother, we do not have that Antonio frescoes it with history of Sant'. Paul hermit to the Museum of Praises, of 1513 approximately, hard and found it hard works, of a ruffled linearismo and deficient povert?spressiva, and the novellistic cake and I fresco of the Adoration of the Magi, allottable to 1525 approximately, in Saint Maria of the Peace. The polittico with the massacre of the Innocents in the Dome of Praises, begun from Albertino, sopravvisuto to the brother, and completed, indeed perhaps only rifinito, in 1529, after its dead women, from Callisto, Cesar and Scipione, sons of Martino, constitutes through with the second generation of i. During such quiet provincial parenthesis made up of blandi and ritardatari modules, in the from Milan painting the radical consequences of the great provoked artistic revolution from the art and the instructions are carried out. Of that immense movement of a manierismo in advance payment that joins the leonardeschi in the suggestions of chiaroscuro and vanished beloveds to the from Tuscany master and in languida a grace, we have not little examples in the Province of. The pi?spirata work, and that more better it recalls the prototypes than Leonardo, in its derivation of the cardboard of Sant' Anna, from the Vergine of Cliffs and the designs?a beautiful table in the solemn Bad?di Lodigiano Little hospital, with the Madonna, assisted from Saint Gerolamo and Saint Giovanni Batiste that support with dande the Child in action of trastullarsi with a lamb, fundamental work attributed to the Giampietrino. The nervous and sensitive line until to illanguidirsi in gentle cadences, the delicate and airy vanished one, brillandti the coloristici values makes of this work one of the pi?entiti ones, solid and effective meaningful and personal jobs of the master are the other works attributed to the Giampietrino and that mainly rispecchiano one sentimentale leziosit?come the Piet?ella sagrestia of the Bad?di Morimondo, the Christ who door the cross of the Incoronata di Lodi, retort of too much taken advantage of iconografico topic, the Ancona with Saint Giovanni and San Giuseppe and predella. Mark d' Oggiono, perhaps the pi?ebole and awkward between the leonardeschi, has left to Besate one its table with the Madonna, Saint Giovanni and two bernardiniani, of 1524, greve pyramidal construction, that it reduces to one grinding contrast the chromatic derivations and of vanished of the master. The Sacred Conversation, dated and signed from Cesar magni in the parochial one of Codogno, and that I think of seganlare for before the time, comes to disconcert the critical chronology of these secondary leonardesco. works pi?ote of the painter, than they are not front to 1530, the shovel of Codogno - authentic that is date 1501 that appears to you - would force to anticipate of remarkablly the attivit?mostrandolo, is pure with juvenile hesitations and a still schematic formulation, gi?Ma the painter who esercit?a greater infuence on great number of artists provincial, s?he its way, simplified and outlined in scialbi and sdolcinati convenzionalismi, riecheggia often in frescoes much. To its juvenile way, and the formulation of the Madonna of 1512 in the Abbey of Chiaravalle, they are next stilisticamente frescoes it much of one Madonna with the Child in Saint Maria to Fontana to Locate Triulzi. Giovanni Battista and Benedict in the chiostro of. In order at least sure it is the attribution, recalls much the taste of the master I fresco of the Redentore, from whose cost he detaches the blood that is collected in a goblet, in the church of Vimercate. Of greater relief?a part that the Luini had in the paintings of the church of Saint Vittore to Meda decorated towards 1520, and that it has many affinit?rchitettoniche and it ornaments them with the church of the Greater Monastero of. Sure of its hand they are the round ones of Christ and of the Apostles, some of which interpret to you with delicate tones chromium plated to us and soft chiaroscuro, in the advanced, rear premises to the altar greater, nonch?e. Vermondo and Aimone on the dividing tramezza, these last typical examples of the juvenile grace of the painter and its rose-colored one and biondo.Ma to the directed inspiration of the Luini, if not quite to its hand, must the magnificent decoration of the time of the Church, that it constitutes one of the pi?affinati and elegant examples of decoration. One of pi?nsigni capolavori of the master?l the great polittico of the church of Saint Magno to Legnano, of 1523, where they are asserts to you, in maturit?tilistica flood, the characteristic plastic, coloristici and chiaroscurali values of the master, in a truly monumental entirety and much. To that luinesco novellistic taste, eternato in it frescoes of Brera gi?lla Pelucca, instead re-establish - even if pi?nitariamente and solidly constructed - the two to tempere of the church of Paderno-Dugnano, with the sacrifice of Abramo and the Conversion of Saint Paul, executed towards. Pi?ffrettata and with one pi?onvenzionale schematismo?a Madonna with the Child, under a canopy supported from angels, in. Of the all manierata one, in its static rigidity and its modest expression?nfine the votiva image of Saint Gerald of the Tintori, painted towards 1529 in the Dome of. Leonardeschi echoes and suggestions, often in truth ecclettiche, from the varii follow us of Leonardo appear in frequent works of the Province that show popolaresche interpretations and of weak person execution or that they fall in one. Characteristic example of the leonardeschi leziosit?ei, second this provincial taste?na Madonna in the church of Saint Peter to the Elm tree, than - in its unnatural one lengthened it rests - door. Of forehead to these currents represent an independent artistic experience, even if of all it does not originate them, that one that carries out to Callisto Praises Public square. The painter returns in native land in 1429, after to have worked to Brescia and in Valcamonica and completed possession its artistic formation in the orbit. It begins endured, with the manual aid of the siblings Cesar and Scipione, the immense hard work of the decoration of the inferior order of the Incoronata that, not without pauses, durer?i?i trent' years. To the exquisite one sobriet?ella he originates them decoration of the Battaggio, to candelabre in putties gilds to you on bottom bleu, a limited by now to the Saint arc, the Public square contrappone fresh and festosa decoration, of mature and esuberante cinquecentesco taste, to complex candelabre policrome, putti and genietti dancing, sibille and prophets, than in its tonalit?ionde, rose-colored and gilded d?n pre-eminent tone acclimatize them to the magnificent one. Between 1530 and the 1532 come executed the tables with history of Saint Giovanni Batiste in the nail head omonima, in the which Callisto, on a coloristica base and tonale of typical bresciana print - of all the unusual one in the From Milan one - expresses those its ideal of rigogliosa venust? of fastosa presentation of personages, in which it - slow and weighted assimilative pi?he genius artist - assumes, of forehead to the Romanino, from which drift, the artistic and spiritual attitude. Codogno, of 1533, marks instead, in the career of the painter, pi?iretto and an immediate contact with the painting veneta and tizianesca, s?a to leave to sopsettare in the meantime a travel to Venice. they are associated, for how much with complex provincial gravity, the Sacred Conversations of the Civic Museum of Praises towards 1538 in the nail head of the Crocefisso to the Incoronata, mark instead one ulterior carried out artistic of the painter, perhaps matured during one. Forcing appears here in fact and swells plastic requirement, a rhetorical dramatic tendency, a colouring greve and plumbeo, far away from the tonali requirements of bresciana print, and that it derives from currents. The weak one and strained Conversion of Saint Paul, to the Incoronata, emphasize in fact such manieristici elements that, in history of the Vergine, painted between 1553 and 1556, hour on the pillars of the presbiterio, will lead senz' other to one flacida and rhetorical forfeiture. If the attivit?rovinciale of Callisto Public square had constituted, in its primordi, a lesson of colorismo Veneto-bresciano - in truth inascoltata - its trasmigrare stilistico towards a manieristica inspiration marks the tendency that assumer?el From Milan the reaction to the last ones. The last artist who, through Gaudenzio Ferrari, repeats ends and rambles leonardeschi accents, infiacchiti in monotona and a tired provincial interpretation?ernardino Lanino in frescoes of the presbiterio of Saint Magno to Legnano, paintings between 1560 and 1564, with manierata. But?na timid voice that is extinguished without echoes. While gi?revale greve a manierismo, even if with some I point out Lombardic, in history of Saint Giovanni, frescoed from Giuseppe Mdea, in 1562, the transetto of the Dome of Monza, and in the contrapposti it frescoes decorated to you, of the bresciano Lattanzio Gambara, of 1570, where ecclettici outlines, of outer venust? of a cerebral plasticismo, they overwhelm the derivations from the Romanino and the Fields. In prevailing of the manierismo, the current that also in Province appears less soffocante, if not much pi?ita them?uella represented. Work of collaboration between Giulio, Antonio and Vincenzo Fields?a Pentacost frescoed in the absidale washbowl of the church of Trezzo, one tumultuous and swells emphasis, in which the energetic plastic and to bounce of the figures?al refrained within the classicheggiante architectonic outline. To the style of next Giulio Fields?nvece the decoration to I fresco, with scenes of the martyrdom of the Saint, in the apse of Stefano Saint to Vimercate, than, in spite of prevailing of manieristiche and academic figures, it has still sweet coloristici accents that recall one veneziana derivation. Of Bernardino Fields, perhaps with the participation of Giulio?a beautiful Madonna with Knows to you, of 1567, frescoed in Saint Francisco to Praises, of placid and gentle shapes and blond man and vanished colouring, while one contemporary Saint Piet?n overwhelmed Lorenzo and from manieristici elements of outer drammaticit? of plastic effort that does not hesitate to find inspiration in the same group of the Piet?i Michelangelo. of Bernardino they are however glia frescoes with history of Christ in the church of Saint Colombano to the Lambro, detaches to you from the nail head of the local Castle, to which same origin goes connected a Trinit?della. pi?he in fragments decorated to you does not transport to you to Brera Much, reveals in these works, executed between 1576 and the 1581, the formal ideal of serene venust? of correct harmonica composition that, with light and rugiadoso colouring and transparent. To the pi?ebole Antonio Fields it goes instead attributed one untied and tiny Crocefissione in the convent of Maggiore Saint in Carrobbiolo to Monza. And to the way of these, but with greater povert?spressiva, to pu?icollegarsi a Crocefisso to Lodigiano Little hospital, work of the cremonese. While echoes campeschi are often repeated in anonymous works of the Province, demonstrating as such taste by now was diffused, we in the last few decades notice a transition from the vision of Bernardino to the idealit?eicentesche in Giovanni Batiste Trots said the Malosso, as they document, of the century, the shovel with the encounter of Sant' Antonio from Padova and Ezzelino in Saint Francisco to Praises and the forgiveness of Assisi in the Church of Bertonico. Of forehead to these artistic contributions of regions finitime (and to these it goes in truth added to that one, most mediocre, of said Guglielmo Hunting the Moncalvo that lasci?na found it hard Sacred Decapitation of the Batiste in the Dome of Monza and weak people Conversations in Saint Maria in Carrobbiolo), the povert?rtistica of the local painters to pu?ssere considered in the burlap of Christ and the fariseo that porge the currency, in the Dome of Monza, or the rigid and hard works of the siblings Dela Rovere said Fiammenghini. Of the assets pittorica resumption that manifest to Milan on the principle of the 1600's we have remarkable manifestations in Province. Substantially a complex manierista, mitigated from emiliano-correggesche suggestions, appears Camillo Procaccini in burlaps with history of the Vergine in Saint Francisco to Praises, painted towards 1618, and from its way, also with one sfoggio of raffaellesche derivations, comes down Enea said Salmeggia the Talpino that in the same Church it painted in sugar inks the Madonna di Caravaggio, the Escape in Egypt and the Presentation to Tempio (1623). Of the suadente style of Giulio Cesar Procaccini, from languida the vanished, rose-colored soft grace and and the luminous one, we have a much meaningful Saint Giusepe in the Dome of Monza, very modulated in the chiaroscurali trapassi, while the Civic Gallaria possesses one Saint Martire that?ibera retort of the analogous subject to Brera. Much next to the way of from Bologna-from Milan master?na Annunciazione in the Dome of Praises. the soft preziosismi chromium plated to us and luministici of Giulio Cesar come of the all overwhelmed ones from a tenebrous and complex conception in the immense burlaps that the last one rampollo of the family, junior Ercole, painted, with Biblical subjects, in 1632, the Dome of Praises, and those posterior ones in the presbiterio of the Dome of Monza, next of taste, and with the same raw luministici bangings, to the contiguous ones fresco Biblical of the laborious one. Said Crespi the Ceramo, from the wide ones and pigmented coloristiche drawings up and from the strong chiaroscurali contrasts, has a clear example in the beautiful shovel of Saint Vittore to Meda, wise constructed in the solid plans, nele transparent airframes, in the wrapping shadows. Its way feeds, like that one of the Procaccini, a wide series of minors and, generally, anonymous people works that however weight down some turn out to you in chromatic deficenze and in expressive efforts to have practised particular she influences the dramatic style of the Morazzone, than lasci?i s?olo weakest and contrasting examples. Widest echo had instead Daniel Crespi. in the repetition of traditional outlines, the shovel of the Madonna with S. Francisco, to Codogno, the Gallery of Monza possesses an arrogant one capolavoro in the martyrdom of Saint Lorenzo, of a poderoso dramatic effect in the chiaroscurale violence, than ago to release in Association of Bologna, in full evidence, the contrasting limbs of the Saint, encircled from graduates them to sink itself. From he they draw some cue, also carrying out it in a emphatic baroque sudden start and in a somewhat rugiadoso colouring, the G. siblings Francisco Lampugnani whom, in their Legnano, a nail head of Saint Magno and a pi?onsistente left decorations in I fresco, with the history of the lacked escape from Milan the Saint, in the Church of Sant' Ambrogio. Procaccini and to the experiences of the school from Bologna, equipped of soft and warm tonali values, Carl Francisco Nuvoloni entrusts pi?lla dramatic Flagellazione, from the fort chiaroscuro and the pastosi tones, in Saint Francisco to Praises, juvenile work, than to the pi?acchinose and out of order Biblical burlaps of Vimercate. in the Province?a intimate Supper of Emmaus of the Dome of Monza, where wide the expressive figures between which it does not lack, realistic particular of Lombardic taste, that one of the host, are collections in the placid one lume, with a nitore of plans and an understanding of the luministici values that ago nearly to suppose that the painter has seen, even if not comprised, caravaggeschi examples. In the same Dome the Giuseppe brother, also taking advantage of a generic popolaresco outline, skillful extension interpreter of soothes tonali effects to you, in the burlap of Tobiolo guided from the angel. Relatively insufficient they are instead the contributions of artists of other regions to the painting of the 1600's in the Province of Milan: to the?ttribuita Guercino one beautiful Visitazione in the Dome of Monza, delicate lock out composition and digradare of plans from the warm inks to the transparent penumbra. to Mattia Priests a Madonna, of sapido and rich color, and cordial immediacy, in the Gallery of Monza. ivi an Annunciation of Andre Vicentino attests povert?el the veneziano manierismo, while the sturdy burlap of Christ to Adultera of the fiulano Meat Antonio, in the prontezza of its expressions and in the warmth coloured in contrast with the shadow, it documents to the penetration in the Veneto of derivations from Luca mediocre Giordano. example?uello of Kidneys to which instead?ttribuito a lezioso. But, on ending of the century, pi?ita them a contribution brings, in molteplicit?elle the its pittoriche experiences, reached and matured in a laborious artistic pilgrimage, Sebastiano Curly. of David that we danced ahead to it arches of the church of Somaglia (to which perhaps, in the landscape, collabor?arco Curly), also eccletticamente risentendo carraccesche and cortonesche derivations and some vague one I point out to the infuence of the Magnasco, marks gi?nel its snodato movement, in the paesistico and its varying and limpid breath lume, the trapasso to the 1700's. Less meaningful, and, second the tradition, repudiated from the same painter?a scene of Teodolinda and Agilulfo that fuse the Basilica, in the Dome of Monza, in which the cortoneschi accents they prevail, also with some brano coolness of coloured Veneto. It belongs to an immense complex of figurations of varii episodes of the monzese Basilica, hung in the navata one and esegito on ending del.XVII or to the principle of the XVIII from Filippo It has to you, scholar of the Nuvoloni, from Andrea Door, Francisco White men and Anton Ruggeri Maria, than variously rapresentano - not without hesitations, deficenze, emphasis and ridonanze -. Pi?icuro and very aware of s?n other movement that, also ring-establish itself to previous the from Bologna ones of the Lanfranco, seems to draw. It asserts, with a mostly decorative conception, a whirling and audacious baroque sudden start, from the agile and audacious past, the luminous penumbrae, the squillanti colors, in the Incoronazione of the Vergine di Andrea Lanzani and in the Incoronazione di Ester di Stefano Legnani, executed in 1699 in the new baroque chorus of the Incoronata of to Legnano) the Legnani extension one academic leziosit? which a porcellanato tone is associated, he continuer? _ prodigar in this sudden start decorative and in this illusionistica painting in the time of the Dome of Monza, determine the taste of one series of mediocre and complex artist local that, in the before met?el XVIII sec. With they it also concurs, in less weak but always academics shapes, the cremonese Borroni Angel, sinch?erso 1740, Carl Carloni, in the times of the navate ones and on the apreti of the transetto, it reaffirms a illusionistica painting and of aerial ends, fresh and sparkling, than to the remote cortonesche origins it combines veneziane chromatic derivations. Beside the Carloni, than you it painted the time impetuously, we find in Saint Filippo to Praises the from Milan Fedrico Ferrari that specializzer?n stucchevolissima a decoration to feints baroque architectures in iscorcio, connected from serti of flowers, repeated until to saziet?n the many. Abbadia Cerreto) between the others from the canonical one. It reveals itself in truth very i?acchinoso, massive and poor of fantasy of how much he does not join to us, in its from Bologna derivation, fiorentino the Sebastiano Galeotti in its quadraturistiche but somewhat grevi parietal decorations in the presbiterio of Saint Francisco to Praises and in Saint Maria of Thanks to Codogno. Langue instead the field of the settecentesca figurative painting, even if vieppi?i multiplies the anonymous shovels of altar of a lezioso and ecclettico convenzionalismo, without nerbo and substance of the exceptions to this spreading mediocrit?isogna to resort to an arrogant one ritratto to average figure of a gentiluomo of the Museum of Praises, cos?rossimo, in the soft one and precious game of the trine of the custom and in the vivido to flash of the eyes, to the way of Vittore Ghislandi, or to works occasionally reached from artists of other regions these, in the Civic Gallery of Monza, we will remember the most delicate one and luminous suonatore of flauto, attributed to the Piazzetta, pennellata express of transparent and of veiled touches, and realistic and a succoso one return from. Cos?enza precorrimenti, without sensitive trapassi - than they are not that one, of the all negative, one general sterilit?reativa - without previous (we would not know to find that a solo other example, however pi?ardo in the Prometeo di Caspar Landi to the Gallery of Monza), we find ourselves unexpectedly of forehead, in the Round one of the Real Villa of Monza, to history of Eros and Psiche, in which, not without traces of a settecentesco colorismo, in someone briosit?i fresh touch, Andrea Level impose us the formal and plastic vision of the neoclassica painting. With the exception of how much we have noticed for the painting, not?ossibile for the sculpture of the Province of Milan, to show a chronological development. the importance of the Lombardic sculpture rispecchia, in the Province, than in a frammentarismo of works, insufficient of for s?e taken one for one, to giving an just concept of afermarsi, carrying out themselves and interlacing themselves of currents and artistic tendencies. Abundant, even if in truth not of exceptional importance, they are the contributions of the Provinci to the preRomanesque and Romanesque sculpture. While the columns of the Basilica of Garlic sauces, of the IX sec. from capitelli of the lowland romanit?rovenienti from perusal material, between which?otevole that one with stilizzati dolphins faces you from a tridente, are relatively insufficient pieces coevi to the construction, pregevolissima in the architecture, but poor of particular decorated to you. We will remember, generic and rozzi fregi to it interlaces viminei in crams to you original of the portale. the seven capitelli of cripta, cubical, scantonati, with rozze recordings parallels to schematic palmettos. an other of such capitelli, better invoice, with caulicoli to intentional of leaves on high ribbings and with, in the foreheads, fogliette to recordings parallels, within shell socket, analogous to those of the preRomanesque nail head of Saint Satiro. Remarkable importance has and has had for the Romanesque sculpture the church of Saint Bassiano to Lodivecchio, rebuilt after the destruction of the milanesi.XIV, but to the sommit?ei pylons they came places the imposing to you capitelli of the primitiva church, beautiful example of maestranze. Someone of these capitelli are carved to wide monstrous figures strongly projection and with and synthetic plans. the greater part, scantonati to the angles, has recordings of lanceolate leaves to ribbings parallels other anchor is bounces to you to large ovoidali nuclei. From such church, second the ancient tradition, came removes some importnati pieces in order to adorn to the cathedral of the new Praises to you, risen endured of the bassorilievo in sandstone with the Last Supper, from the archaic sfingee figures with witness, sharp minds and great eyes block to you, whose only requirement of movement?ata from Giovanni whom the head reclines on the chest of Christ, work that in its crudeness extension vague and rozzo a precorrimento. overhanging bassorilievo of Sant' Ambrogio and San Bassiano, gi?on one effort of realistic location in the drapery of their episcopal ones. From Lodivecchio it would want also coming from the dossale of the altar of Saint Bassiano, in cripta, with the figures of busto of Saint Bassiano. Peter and San Gaudenzio, under one archeggiatura to all. E' operates of detached plastic energy, than however it appears pi?rossima to the construction of the Cathedral new of Praises, of the second premises that it would want came from Lodivecchio, is the greater portale that the lateral ones of the Cathedral of Praises. They instead are work of second met?el the XII sec. Particularly remarkable?l portale greater, to articulated sguancio, than in the sharpened and arcistiche figures of Adam and Eva, in it crams, gi?anifestanti a stilizzazione effort to you, comes near. Analogous quite to the way of the Antelami. And therefore to think itself not front to the last decades of the XII sec. the lunetta of the portale, with Christ in benedictory throne, the Madonna, in position leggermente trasversa, ammantata, with soggolo, that it raises the open hands and Saint knelt down Bassiano, of profile, work that next to a greater plastic fluidit?ha gi?na requirement of pi?omplessa and spaces them composition, also dominated from one interesting search. Next for ET? style is two capitelli that they place side by side the portale, with out of order and grotesque symbolic figurations. Much rozzi, of poor local invoice, is instead some fragments. Coming from from Lodivecchio, in the Museum of Praises. a pre-eminent and modest decorative value only with the impacciata figure of Saint Bassiano, has figurative requirements, but also rather generic. To century XII some fragments decorated to you also belong and an arc with carved highly summarized and gustose scenes of hunting with lively yield, between stilizzata and realistic, nonch?rammenti of capitelli and decoration to elegant zoomorfi reasons in chiesetta of Saint Maria di Calvenzano (Vizzolo Predabissi), than clearly rispecchiano in it refines to you to stilismi their origin cluniacense and contacts with the sculpture of oltralpe. To an only hand, and rozzo a scultore local popolaresco, they are from attributing itself, in the Romanesque interesting chiesetta of Saint Colombano to Vaprio d' Adda, the capitelli of the presbiterio strongly and articulated relief, in their monstrous ones interlaces, the two lunette of the portalini smaller, with. Colombano and a Saint bishop whom awkward realistic searches join greater, with isolated stilizzate figures of angel that are alternated to isolated. XIII?nzitutto to the Dome of Monza that goes turned the attention. Six capitelli of the pylons, they have agile and sturdy figurations to all relief, with rude plastic vigor, that they alternate realistic monster to zoomorfe figurations or ornaments detailed them pi?quilibratamente and stilizzate. Of greater pregio?a pi?arda (II met?el XIII. E' uniform in two zones: in the?appresentato inferior the Baptism of Christ in the advanced Teodolinda, placed side by side from the familiar ones, that it donates to the monzese cathedral the objects of the Treasure, represents with one sure exactitude to you. a clear sense spaces them and a calm compositivo equilibrium, also in the realistic search of movement of someone of the figures, exiles and lengthened within the animated draperies of the expressive value of the lines. It, for how much with pi?ardo and mature development, res-establish itself to the way and to the taste of I guide from Como. Insufficient importance has instead the gevi capitelli of the Abbey of Morimondo, with generic and ritardatarie decorations, while those of the church of Saint Francisco to Praises, posterior to 1288, have pi?ariet?Anche the portale to sguancio of the same church repeat without originalit?l prototype of that greater one of the Cathedral, to which, in 1284, came added the protiro, esile and. To a late period somewhat of the sec. cooked of the rosone and the windows of the Abbey of Morimondo, first and timodo example of that employment of the terracotta, with finalit?rnamentali, than diventer?usto decorative quite traditional in the Lombardia.XIV mostrer?n pi?legante and articulated use of the decorations of the terracotta, that they will always go making oneself pi?inute and bloomed, in the facade of the rebuilt church of Saint bassiano in Lodivecchio, of the first quarter of the century, and, pi?ardi, in that one of the Abbey of Viboldone (1349), where statuarie figures in terracotta join also. in those of Saint Lorenzo and Sant' Agnese in Praises, where gi?enetrano slanciati gotici elements. and finally, on the end of the century, in that one of Saint Maria in Road to Monza - in truth rimaneggiata much - all to trafori, pinnacoli, archeggiature trilobe, with to the center the immense one rosone from complicates adorns to you projection strongly to you. In Saint Francisco to Praises, one tombale slab to high relief, with the figure of Sant' benedictory Antonio, the head enunciating on one cavit? shell?pera not lacking in gotiche stilizzazioni, in its modest expressive one, of a friar Delay de Brellanis, lodigiano, one of the little local scultori that exit from the anonymous person, and?atata 1304. Interest not only artistic, but folkloristic, has in the church of Saint Bassiano to Lodivecchio, two high reliefs: one, dated 1323, representing a bovaro to horse that pushes out one couple of buoi. the other, coevo, reproducing a shoemaker to the job, both symbols of the local corporations. An analogous piece to this last one, with the highly summarized but gustosa realistic yield of a bottega of shoemaker, is found to the Museum. Of second met?el the century, imprinted sure to the maiera of Balduccio from Pisa are one gotica and majestic Madonna on the facade of Saint Maria in Istrada to Monza and one battery for acquasanta in the Abbey of Morimondo, in which greve the more rather?ormontato base from the elegant one statuetta of the Vergine, draped within the mantle from the characteristic falcature of the pisano gotico. Extension instead one campionese print, also in the somewhat conventional prototype, the tombale stone, gi?erragna, dated 1365, of prevosto the Guglielmo Villa, in the Abbey of Viboldone, from he a lot benefitted. Also towards met?el the century?a to think executed that interesting bassorilievo of the Dome of Monza that, gi?on realistic aspiration and with a sure novellistic brio, describes to the ceremony of the incoronazione to King of Italy of a German Emperor, for work of the archpriest of Monza, present the Constituents in varii attitudes in their pomposi mantles and the representatives of the Common and the people of the citt?he, while they receive a confirmation of theirs privileges, assure fedelt?opera perhaps devout person that she constitutes pi?n remarkable historical document that. The immense current of the campionesi masters?gregiamente represented. To the last decades of the sec. XIV, and ante 1396, laughed them ambo marmoreo (evangelicatorio) of Dome of Monza, operates of matteo from Champion, that it compensates the not beautiful effect of the arc lowered to which s' set up the cassone, with the wealth of the gotiche decorations and with the plastic strutturalit?elle many figures to high relief of Apostles and Knows to you, po' stocky in the gotico complex a winding of the heavy draperies. Capolavoro of the master remains the facade of the Dome of Monza, singular fusion of Lombardic gotici elements and of one it knits strutturalit?isana ravvivata from the coloristico effect of the dicromia white man-green of. Matteo from Champion has profuse also in the particular elegant and exquisite marmorea closing of trafori, projections, floreali elements to you.: to times conceived with measured equilibrium and agile plastic sense, like in the stilizzate frames to fogliami of the inferior windows. to times - as in the immense inquadratura of the rosone - it elaborates to you with that taste of gi?nsito marmorea trina in the Lombardic taste cos?ropenso for the particular exquisite minute and and the trita affastellatura of. Other worthy example of the art of the campionesi masters?' altar, with eight high reliefs of the life of the Vergine, in the church of Carpiano, in which?oluto to ravvisare the original altar of the Certosa of Pavia, executed in 1396, it seems from Giovanni from Champion, and removed. XVI when it came erected the new altar, confining the pi?ntico in one "grangia" monastica employee from the Certosa. The narration is carried out slow and ingenuous, nearly impacciata in the elaboration of composed outlines. the every scultore ripone strains in the full debit and tondeggiante relief to the hard and energetic shapes. Closely analogous to the taste and the technique of the campionesi masters?nfine, in the church of Bernate Ticino, a lunetta with the Vergine in falcato mantle that it has next Saint martino as knight with I lie in steel mesh and elmo, devout adored from the knelt down priore. the deep radicazione in Lombardy of the gotici elements is revealed in not little sculptures of the 1400's, to leave from the statue in branch of Saint Giovanni Batiste, on the facade of the Dome of Monza in order to reach, in age gi?arda, to the high relief of Saint Bassiano, fregiato from the symbolic red deers, and to one lapide tombale in Saint Francisco to Praises, analogous to an other in the Museum of and in the tomba terragna of Taddeo Fissiraga in Saint Peter to Lodivecchio, works in which a pi?quilibrato plastic sense does not succeed to get rid from gotici convenzionalismi, often carried out with popular, schematic modestia. Timid, insufficient and occasional they are the works of sculpture in which - and we are gi?ella second met? quite to the end of. - the Rinascimento is asserted, with that character of decorative esuberanza, of trite and bundled articulations, and of graceful, calligraphic svolazzo that trover?l apex in the art of the Amadeo. Next Pi?he not to these?ncor to the taste of the Mantegazza a refined marmorea frame of altar in the church of Mettone, near lacchiarella, to most delicate fregi floreali, with figures of Knows to you to bassorilievo of a minute and perticolareggiato realism, from the fractured plans, nervously. E' tutt' improbable other that that the work, until to ignored hour, comes from the laboratories of the not far Certosa. Characteristic works of the Amadeo are instead two round ones with nervous angels reggiscudo, on the facade of the chiesetta of Carpiano, that they join the tendency to one soft grace to the involute drapery, to spezzature. Ivi they recall to i greater examples of the Certosa of Pavia - from which also they come - two medaglioni to bassorilievo with the witness of Pompeo, king of Tessaglia and Guide, and two pi?anierate and little. To the taste of the Amadeo, but measured much in you leave yourself decorated to you, recalls the portalino in tender stone of the Incoronata di Lodi, executed in 1490. the capitelli marmorei of before pronao, the little posterior ones, in which the Lombardic decorative esuberanza embra to find a brake in the bramantesco model of chiostrino of Saint Maria of Thanks. In the inside of the Incoronata?a to assign itself to the Battaggio - therefore between 1488 and the 89 - the original decoration of the piedritti, of the Saint arc and the advanced trabeazione, with elegant and equilibratissimo a development of floreali elements decorated to you in stucco gilded on blue bottom, equilibrium ornaments them that it reappears in the next time to cassettoni in golden stucco of the Nail head of Saint Giovanni Batt. of illusory perspective that takes the cue from the bramantesco example of the chorus of Saint Satiro to Milan. To the Battaggio they go then assigns the sixteen round ones with the envelopes of terracotta to all relief, in the archivolts of the single nails head, that they are closely analogous of taste, bench?i?ozzi, to those you execute yourself in the sagrestia of Saint Satiro to Milan from the De Fondutis, with which the Battaggio had collaborated to Piacenza and Lontano from the minute and aggraziato Lombardic decorativismo us door the energetic one pronao of Coveting in Saint New Maria of Abbiategrasso, whose inferior order brings date 1497, while the advanced order, incompiuto?a to think itself continued, always on designs of the master, sin towards 1505. A structural and plastic vision, of concentrates effects to you, of a classicismo it originates them and fecund that spirit and upgrades every articulation, every projection, every recess, and enriches the splendid ones capitelli, in full contrast with it arches and the round ones in terracotta of the entrance hall, still of pretto character. E' to the end of the 1400's that we see to begin itself (of meant antecedent examples to you we would not know to remember that a trecentesco fort crocefisso to Praises) that sculpture in wood that, especially in the Six and 1700's. Of the 1492?nfatti a gilded lignea Ancona and policroma of the lodigiano Francisco Lupi in cripta of the Cathedral of Praises that, with popolaresco taste, bundles, in minuzia of its the movements figures and of its triti gadgets it ornaments them, realistic elements and ritardatari gotici convenzionalismi. Of the same age are, in the Museum of Praises, the fragments of the lignea Ancona that constituted a time the greater altar of the Incoronata. poicrome, of one rozza but lively popolaresca vein, with history of the Vergine from the lengthened figures detached from the bottom, with gustosa rendered of the elegant ones and coloured customs of the time, came carved from the lodigiani Buongiovanni and Bassiano Lupi. instead the predella to elegant fregi gilds to you on bottom bleu and twelve formelle with slanciate little figures of Sibille, in sfarzosi and policromi mantles softly falcati or exquisitely search to you, belong, to how much it seems, to from Milan the Giovanni Peter and Ambrogio. Of this sculpture in wood, particolarmnte meaningful in the Lodigiano, we have finally other example, to the beginning of the XVI sec. refined decorations to I interlace of turns them floreali gilds to you of the cantoria and in the cassone of the organ of the Incoronata, it operates of a Daniel Gambarino. One gi?lassicheggianti measure and an equilibrium extension the beautiful fireplace in tender stone, in the Museum of Praises, executed in the 1510 for the Incoronata from the cremonese Caspar Pedestrians, whose medusee trabeazione to putti resisting encarpi and witness?nterrotta from the round trito one with the Incoronazione. Other remarkable exemplary of fireplaces - Four and Cinquecenteschi. To the characteristic Lombardic taste, gi?eso heavy and fastoso to become part of classicheggianti cues in the minute and calligraphic decorativismo, us filler the rich funerario monument to Bassiano From Bridge in the Dome of Praises, much next work to the way of Andrea Fusina, like the?arimenti funeraria the contiguous pi?emplice lapide of Oldrado gives. Of pi?enerica invoice, but with analogous characters?a lapide tombale varesi in the Dome of Monza, anch' conceived it as rinascimentale plate sluice in ornaments figured to you, turns them and cartocci. With a sure gravity of inspiration and weaknesses of invoice the decorations of two double lancet window windows recall the taste of the Amadeo, on the facade of the Dome of Praises, bileft from fregiata candelabra. Much pi?ignificativa of the sculpture in marble or stone, than from this moment it falls in a generic and found it hard taste, with manierate. Cathedral of Praises, the end of the sec. XVI), appears then of hour in the sculpture. To it it gives to some contribution forestieri artists to the zone, like between Giovanni from Verona of which in the church of Saint Bernardo to Praises, trovansi eleven dear tarsie, analogous to those of Saint Maria in Organis to Verona, and that are a property left at death one of its last one and incompiuta hard work others assume to decorative party symbolic objects develop the perspective predilezioni of the artist in singular architectures of fantastic citt?Ma are formed while, with artigianesco character of the local masters, often much pregevoli, like that Francisco Giramo from Abbiategrasso that in the 1522 esegu?o splendid ligneo chorus of the Abbey of Morimondo, from the clear ones and structural partitions and from the beautiful rich tarsie of effects decorated to you measured (in the symbols stilizzati pi?he in grevi the figures of It knows to you much), or like those Corio siblings that in the II met?XVI executed in Saint Magno to complex Legnano tabernacolo the ligneo one to varii orders with niches and statuette, competing with the anonymous local craftsmen to which the pi?emplice chorus must. Dear job of anonymous people, 1577?l monumental ligneo chorus of the Dome of Monza, sage in the articulations of its membrature. A pi?esante taste, in the insistent one to repeat itself of formelle with arches in perspective, on the background of which they enunciate, painted, figures of It knows to you, it denotes instead the ligneo chorus in Saint Lorenzo and the pulpit in Saint Maria of the Sun, to Praises, works executed towards the 1570 from the from Milan one. In tutt' other field, they go mentions the sturdy ones to you and heavy it putties in Saint Lorenzo to Praises, operates of Antonio Abounds from Ascona, than in theirs moved and giganteggiante gi?egnano relief prevailing of a taste manieristico. decorations to stucco, of classicheggiante elegance, executed in the 1614 from the lodigiano Reddi Batiste in a nail head of Saint Francisco, than they do not leave presentire that wide but complex and greve employment of putties, cos?requente in the churches of the from Milan one of the Six and the 1700's, with an attempt of decorative, but much often poor pomp of pregi artistic. Also the 1600's d?otevoli contributions to the sculpture in wood. To the from Milan Carl Garavaglia Villanova chorus of Sillaro and that one, posterior are attributed to the ligneo, of Lodigiano Little hospital, both articulate to you in the projections, the carvings, the tarsie, the decorations much. In the same Abbey of Little hospital the hanging lignea Ancona, in bottom to the presbiterio?no of the pi?aratteristici examples of complex baroque, from the strong and colossal structures, to which it is reached the lignea sculpture in the zone. Popolaresco character, but of a balanced effect, has the chorus of the Church of Cerreto Abbey, of 1679, work of the from Milan Stefano De Legnani. The apex of marked the baroque lignea sculpture?uttavia from the chorus of the Incoronata di Lodi, executed in the 1699 from Carl Antonio Lanzani, rich of one snodato movement, of a fastoso projection, with intelligent games of light and shadow, of a strong relief in the figures carved. XVIII the marmoreo altar of the Incoronata, adorned from precious marbles, of agile and a movement structure, whose articulations are enriched from applications and bronzes to jolt and traforo, constitutes the capolavoro between the baroque altars of the zone, that they are instead much often of a generic and conventional structural and decorative character. Also the 1700's it sees a remarkable closing of the lignea sculpture that propaga often, with a popolaresco character, in the lignee statues of the Vergine or of It knows to you that, frequently deturpate from stolte ridipinture. examples of this art, beautiful madonna in wood gilded of the Church of Saint Vittore to Meda, operate of an anonymous person, probably local. The so-called "closet of the reliquie" in one sagrestia of the Dome of Monza?no of the last examples of the lignea sculpture of the sec. XVIII, with one wealth and complessit?ecorativa that they mark. Also in the field of the decorative sculpture the trapasso to the neoclassicismo - than to pu?rovare the pi?lequente symbol in the fastoso marmoreo altar of the Dome of Monza, designed in the 1798 from Andrea It levels -?epentino and without precorrimenti that are not that one of one geerale fatigue. ?otato how much approximately the little unitary and little organic character of the sculpture in the Province of Milan, goes to greater repeated reason. We find ourselves here indeed of forehead to the typical situation that, if eccettuano cospicui the treasures of Monza and Praises?rrisorio, if not quite null, the contribution of the other smaller centers wars, the pillages, the napoleoniche abolitions of religious agencies to the end of the XVIII., requisitions, posterior allienazioni or disperdimenti have irrimediabilmente sperperato the treasures of the churches of the From Milan one: and that least that?imasto?ssai of insufficient value. It is observed then that many most precious pieces, species of the Monzese Treasure, have one origin of the all stranger to the local art. ?rodotto of this last one it has therefore to caattere of all fragmentary and the episodic one: and if?onsentito to find talora some example of the Lombardic smaller limbs, all the impossible one to?stituire on such pieces a suit and organic outline of the artistic historical development of the smaller limbs of the from Milan one. Precious pieces of the Treasure of the Dome of Monza are cos?oti to every student of art that we will be able to limit us to one succinta elencazione. Not only the pi?enerando, like sacred reliqui, but the pi?ntico would be the Iron Crown, cos?icca of history in its short turn and in the nitore of its enamels and its gold, if, firm remaining the certain origin it orients them, chip ax the supposizione of the Riegl. the blue enamels and red tawny that would go back to IV sec. the white men and blueta on green bottom who would belong to posterioe a rifacimento. IX, but, with greater probabilit?del sec. have given to the crown its predominant print with the added one of. Little notes (also for the disordinata, narrow and irrazionale positioning of all the monzese Treasure, stacked R-alla.rinfusa in the most humid wall closets of the end of XVIII sec. metallic (the eulogie), a time containing oils of the burning lamps in the Places Knows to you and in front of the tombe of the Martyrdoms, envoys to Queen Teodolinda from Gregorio Magno to the principle of the sec. On their twofold face they are bounced tiny and stilizzate evangeliche scenes of highest value, in how much, entrusted to the pilgrims in Saint Earth, like votivo object, constituted a precious one through between Palestine and the West for the spread of the iconography. YOU, before cio?el predominion of one pi?ealistica vision, incompatible with their stilizzato simbolismo, and however before the Arabic invasions. YOU or to the principle of the WAYS the magnificent gold fastening is assigned, adorned of gems and from lamelle of granato, gift of Teodolinda -?ubbia the identification of a "theca Persian one" to donated it from Gregorio Magno - work that, also in its preziosit?ha still a classic equilibrium in its measured partiture. YOU?a most fine cross chest strap that, under a sagomato crystal layer of rocca violetto, one leaves trasparie. Other gift of Teodolinda?a cup of zaffiro, of which per?ltro the goblet does not remain that, of precious matter, but without pregi artistic, poich?l foot and the stalk is work of the XV sec. Typical products of barbaric oreficeria, in the alveolate incastonature of stones, are the said gold hanging crown of Teodolinda, of characteristic shape, but whose original fulgore?erduto, undressed in occasion of the napoleoniche holdups of precious stones, replaced from cold madreporici discs, and the gold cross of Agilulfo, rozzo but significatissimo job of barbaric technique in the granular working of the gold reliefs. Problematic?a dating of that piece, truly only, traditionally it also gift of Teodolinda, than?l flat circular on which they are fixtures one chioccia and the brooded one of the chicks, in gilded silver. ?oluta to suspect one Romanesque reconstruction of an original work, but us? disregarded from the fact that in the lunetta of the portale., reproducing the gifts made from the Queen, appears also this piece: that it is to confirm a its traditional one antichit?di work in which the realistic characters they are cos?ssoluti (single the profile from sparviero of the chicks seems to attest vetust?el the job) to trescendere however with one perfect diligenza of reproduction. A phase pi?arda, and pi?suberante, of the barbaric oreficeria announce us the so-called reliquiario of the tooth, of the end of the sec. VIII, tempestato of gems and stones on a forehead, trapunta from deep moving in filigree, fine gold, and with a Crocefissione to punzone on the other, and the fulgente cross of Berengario or the Reign, of the sec. where the incastonatura of stones in alveoli?i?n' I do not ornament additional, but it constitutes the structural skeleton quite. Work pre-eminent of oreficeria, date the head in silver fine worked to traforo and tempestata of gems?l so-called comb. lavor bizantino instead probably front not sure draft to. Without other median path it is jumped to 1350, given of the silver altar frontal, s>