Remarkably the Chiesa prepositurale di San Vittore Martire stands before you. Its history stretches back to 846 a testament to Milan’s enduring faith. Imagine the original church facing west towards Piazza Visconti its entrance overlooking a cemetery. A far cry from its current neoclassical elegance. This wasn’t always the case. The church was small just 18 meters long and 12 meters wide. By the 19th century it was dilapidated beyond repair. A decision was made. Demolition and reconstruction followed. This time the facade faced east. This pivotal moment unearthed a surprise. During the construction Archbishop Leone da Perego’s mummy was discovered in the attic. Now it rests in the Rho cemetery a poignant relocation. The current basilica is a beautiful example of neoclassical architecture. It was built by Besi and Aluisetti. Originally there were two bell towers but one fell in 1889 due to structural instability. The remaining tower stands tall at 58.40 meters. Inside admire the paintings by Professor Beghè guided by Don Moiolo. Sixteen stunning stained-glass windows grace the basilica. Some are by Giulio Cesare Giuliani others by Tevarotto of Milan. Professor Bosoni and the Luini school also contributed to the artistic splendor of San Vittore. The construction ended in 1847 Archbishop Luigi Nazari di Calabiana consecrated the church. In the square stands a Plague Cross. It marks the spot where relics were found along with a note authenticated by Monsignor Benetti. The church’s impressive bell concerto is a masterpiece from the Barigozzi foundry. Founded in 1806 as the Napoleonica Eugenia Foundry it created many other bell masterpieces throughout Lombardy. Its legacy echoes in the bells of Rho Corbetta Vedano Olona Chiasso Morbio Inferiore and Carate Brianza. The Chiesa prepositurale di San Vittore Martire is more than just a church it’s a living chronicle of Milan’s rich past. It’s a journey through time a testament to faith resilience and the enduring spirit of a city.
Центральный дом работников искусств
Step through the grand wooden doors of the Central House of the Workers of Art, and you’ll be transported to