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Milan has some stunning architecture.
Sometimes, I just love to walk around the city photographing the buildings, never having a plan and enjoying stumbling upon anything and everything.
Just recently, I was in search of a particular landmark and was a bit stumped. As I stood on the corner of Via degli Omenoni and Via Adalberto Catena, pondering which way to go, I glanced down the street and a remarkable building caught my eye. There were giant men holding up the facade! Well, not real men…stone men!
A nearby sign gave me the information that I needed…this was Casa degli Omenoni.
Casa degli Omenoni was designed by sculptor Leone Leoni as his place of residence during the 16th century. The sculptor, known for his bronze statues of Felipe II and Carlos V (which now can be found in the Prado Museum) conceived the idea for his home and place of work, however, the “omenoni” or “big men” were sculpted by Antonio Abondio, a renowned artist of the time.
Though the interior once contained a large inventory of paintings and other works of art, including the Codex Atlanticus, a book of drawings by Leonardo da Vinci, these treasures are now preserved in museums throughout the world.
Eventually sold by Leoni’s son, the home was owned by several notable Milanese families, used as the seat of a music-publishing company, the seat of a Fascist party and as a theater. Although the interior was renovated in both the 19th and 20th centuries, the facade remains largely unchanged except for the addition of the wrought iron balconies.
The exterior of the building was quite fascinating with the eight giants gracing the spaces between the windows and flanking the door frames. The men look quite ominous with scowls upon their faces and arms crossed. Honestly, I don’t think an intruder would dare to approach this residence with these wardens protecting the entrance!
You should, however, approach! Much like the “Monster House” in Rome, Casa degli Omenoni is an exquisite piece of architecture and a quick stop on your tour of Milan!
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Casa degli Omenoni
- Address: Via degli Omenoni, 3, 20121,
- Hours: 24 hours
- Admission: Exterior free. Interior not open to public.
- Getting There: A quick walk from La Scala, located behind the church of St. Fidele. Closest metro stops, Duomo, Cordusio and Montenapoleone.
The church of San Babila was built on its current site in 1095, to house these relics, and extended with additional construction at the front and a new baroque facade. Though much of its original style has been lost during renovations, the church still retains its original medieval feel. During the 19th century, the complex was renovated with the aim of restoring the appearance of the medieval basilica and in the early 20th century the Neo-Romanesque facade by Paolo Cesa-Bianchi was built. The bell tower was eventually added in 1920 to replace the original tower which had fallen in the 16th century.
With the many grand churches throughout Italy, it was quite surprising when I entered, that San Babila was a very simple, mostly unadorned church. The interior has a nave and two aisles with two side chapels that date from the late Renaissance. Pay particular to the right aisle as it has an image of the Madonna, highly esteemed by the Milanese community. Also particular to note are some lovely medieval frescoes, Renaissance windows and beautiful mosaics.
If traveling in this area of Milan and happen to enter or exit at the San Babila metro, take a moment to stop in and relish the quiet beauty.
Established in the 5th century, the basilica was formerly dedicated to both Saints Zechariah and Stephen, though eventually given over to the latter. The original building was constructed around the year 417, destroyed by fire in 1070 and rebuilt in the Romanesque style in 1075. Since 1594, many reconstructions, expansions and restoration have been completed including enlargement of the apse and the main altar, lengthening of the nave and reconstruction of the facade, reconstruction of the bell tower by architect Gerolamo Quadrio and the construction of the sacristy and the modernization of some chapels.
St. Stefano is most famous for the many saints interred within its walls, most notably, San Carlo Borromeo and for two major events that occurred in the church. The Duke of Milan Galeazzo Maria Sforza was assassinated by four conspirators in 1476, under the medieval portico outside the church, as he visited the basilica for the celebration of the patron saint. The remaining pillar of the portico can be viewed in front of the belltower. Also, after years of speculation, the baptismal certificate from 1571, of the painter Michelangelo Merisi, better known as “Caravaggio”, was discovered in 2007 in the archival documents of the basilica, giving a definitive answer to the age-old question of his baptismal and birth place.
Though the basilica is very little known to tourists, it is easily accessible from the Piazza Fontana and quite impressive for its size and historical significance. Though the church is in desperate need of renovations, there are many items worth noting on its interior. Many of the side chapels contain beautiful and original stained glass and paintings and the altar is quite grand with its gold tabernacle. Also, be sure to note the imposing organ, the unique statues and the beautiful vaulted ceiling. Of particular interest is the life-sized bronze statue of Jesus on the cross, flanked by his mother and disciples, at the rear of the structure.
The small square chapel, a breathtaking area, was originally decorated with frescoes by Sebastian Ricci, an Italian artist. Today, you can still see his work…gaze upward at the incredible ceiling which depicts the Triumph of Souls Among Flying Angels and the glory of the four patron saints, Santa Maria Vergine, Santa Ambrogio, Santa Sebastiano and Santa Bernardino de Siena. The rest of the chapel is adorned with an altar and a niche with the statue of Madonna Addolorata (Our Lady of Sorrows) kneeling before the body of Jesus. Skulls and bones, believed to be the deceased from the hospital and corpses from seventeenth century cemeteries, are arranged in niches and on cornices, pillars and doors. Some are stacked “frame-like” appearing as oversized paintings in simple shapes while others are arranged in ornamental patterns, like skull and crossbones. The skulls that you observe in cases above the door are those of executed prisoners.
Remains interred near the altar are those of a young girl, who, according to legend, comes back to life on November 2nd, All Souls Day, and lures other skeletons in a morbid dance.
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Arriving in the front of the building, an extensive queue snaked from the front to side where tickets were required to enter the queue. After a quick walk to the ticket office at the Sala Delle Colonne, we soon had tickets in hand and were back to the line. Moving rather quickly, our bags were inspected at the door and we were then admitted into the cathedral.
