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Poor Santa Maria della Grazie!
You’ve never heard of it? It is the basilica that plays second fiddle to Leonardo da Vinci’s masterpiece which resides in the adjacent refectory!
Most people do not trek across Milan in search of this church. They duck inside before or after the visits to the Last Supper or visit as a consolation when they cannot get tickets to lay their eyes on the famous painting.
I am here to tell you, however, even if you can’t secure tickets to the Last Supper, a visit to Santa Maria delle Grazie, next door, is a must. Years ago, when I was practically laughed out of the ticket office when I inquired about last minute tickets, I consoled myself with a visit to the basilica. Now considered a UNESCO World Heritage Site, it was constructed under the orders of the Duke of Milan Francesco I Sforza and completed in 1469. While the basilica contains some amazing treasures, it is the notorious painting, housed in the refectory of the adjacent convent that attracts thousands of visitors each year. Though the Last Supper is the main attraction, it is not to say that the church itself should be overlooked.
Taking decades to complete, the church was originally designed to serve as the burial site of the Sforza family, however Ludovico Sforza’s wife, Beatrice was the only member buried in the church in 1497.
Since I arrived extremely early for my visit to the Last Supper, I decided to take another look around the basilica I had visited so many years ago. As I entered the structure, I vividly remembered its beauty and all that it has to explore, however, the chapels on each side of the church are the definitely the highlights. Upon completion of the church, the most powerful families who were granted patronage of the chapels to bury their loved ones, then decorated each chapel with the artistry of the period’s masters and each is magnificent and unique.
The Chapel Atellani’s prominence is an altar-piece of the Virgin Mary with Child, St. Vincent Marty and St. Vincent Ferrer by Cariolano Malagavazzo dating back to 1595. The frescoes from the 17th century were painted by the Fiamminghini brothers and detail the the miracles by St. Vincent Ferrer and his martyrdom.
The Chapel of St. John the Baptist displays an ornate candelabra, an ancient organ and an altar-piece of St. John the Baptist admonishing a devotee painted by Marco d’Oggiono. The frescoes on the walls and ceiling were painted by Ottavio Semini in the 16th century.
The Chapel of St. Joseph’s altarpiece was completed by Tiziano’s disciple, Paris Bordon and highlights the Holy Family with St. Catherine of Alexandria.
The Chapel of St. Peter Martyr contains frescoes by Giambattista Lucini of St. Ludovico Beltran and St. Paul. The altarpiece is entitled The Martyrdom of St. Peter of Verona.
The Chapel of Conti (forrmerly Simonetta) offers an entrance gate of bronze, dating back to 1669, which was formerly the railing of the high altar until 1935. The altarpiece is a marble monument of the Virgin Mary received into Heaven and Eve at her feet, sculpted by Arrigo Minerbi in 1941. On the sides of the chapel are centographs of Senator Ettore Conti and his wife, Gianna Casati, by Francesco Wildt. Conti was the illustrious benefactor who ensured that Santa Maria delle Grazie was restored and rebuilt after World War II’s bombings damaged the church.
The Chapel of St. Dominic’s magnificent altarpiece is of St. Dominic, holding the rosary, receiving the book and the stick of the evangelic preaching from the Apostles Peter and Paul, by Carlo Pontion. Its walls contain fragments of the glory of the Dominican Saints by Francesco Malcotto that were originally in the apse of the choir.
The Chapel of St. Pius V contains tombstones of Branda Castiglioni (1495), Luigi Arcimboldi (1496) and Cecilia Magenta (1585). There are fragments of frescoes by Montorfano and the altarpiece of Pope Pius V is by an unknown artist.
The Chapel of St. Catherine contains a bronze Crucifix on the altar designed by Ecce Homo, earthenware on the altar table, six bronze tablets with episodes of the life of St. Catherine of Siena, and a (now walled-up) reliquary where the mantle of the Sienese saint is preserved. There are paintings in the lunettes of St. Catherine of Alexandria and St. Catherine of Siena and an altarpiece of the Virgin Mary of Child and St. John the Baptist and St. Peter Martyr, by Nicolo of Cremona.
The Chapel Della Torre highlights a painting of the Virgin Mary adoring the infant Jesus with St. Ambrose, St. Lucy and the offerer’s family. If you glance upward, you will notice an example of the original decoration of the XV century.
The Chapel of Marliani (or The Angels Chapel) depicts an altar piece of St. Michael defeating Satan which dates back to 1560 and there are nine angelic choirs on the vault by an unknown painter.
The Chapel of St. Martin de Porres has four cenotaphs from the XVI century on the walls and an altar piece of St. Martin in Ecstasy by Silvio Consadori.
Chapel Sauli’s main focus is the Crucifixion by Giovanni demio of Schio. On the walls there are elegant angels created by earthenware covered in stucco, that carry the instruments of the Passion. If you look closely, there is evidence remaining of the bombardment from World War II.
Finally, St. Crown’s Chapel offers the Deposition from the Cross by Caravaggio dating back to 1616. Its original masterpiece, The Crowning of Thorns Coronation by Tiziano was stolen in 1797 but was recovered and now housed in the Louvre. The vaults and walls display frescoes with scenes from the Passion.
After making my rounds of the illustrious chapels, I made my way through the remainder of the church, admiring the decorated vaults and domes of the nave and the apse.
The two-level choir of the friars for the holy liturgy has thirty-three Carthusian-styled seats on the lower level and forty-two on the upper level decorated with figures of angels and saints in the Lombard style. The modern organ is lowered in the middle of the floor. The choirs of Italy’s churches are always a favorite of mine with their elaborate carvings and I am always able to imagine the beautiful sounds that must emanate from this area.
The outside of Santa Maria delle Grazie is also not to be missed! Make sure to not miss the family crests that decorate the outside of the church.
Though Santa Maria delle Grazie is consistently outshined by the Last Supper which is housed in its refectory, every visitor to Milan should make their way to its location and give it the respect it deserves!
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Santa Maria delle Grazie
- https://legraziemilano.it/
- Address: Via Giuseppe Antonio Sassi, 3 20123 Milan
- Hours: 1000-1220 and 1500-1755, July opening hours 0900-1200 and 1600-1755
- Mass times: Monday through Saturday, 0730, 0830, 1230* (*except July and August), 1830. Sunday, 0800, 0930, 1030, 1130, 1830, 2000* (*except August)
- Admission: free
- Getting There: Metro, Conciliazione or S. Ambrogio stops