Milano, Basilica of S. Eustorgio

The original building of the basilica, erected on a burial site, marked evidence of which may be visited underneath the church, appears to date back to the 4th century, to the time of Bishop Eustorgio (315-331). The central body of the present church was repeatedly widened between the 11th and the 13th centuries. In January 1491 the bridal procession of Beatrix d'Este stopped at the church, on its way to her wedding to Lodovico The Moor. Hence, by ancient tradition, every Bishop of Milan, when newly appointed, starts his procession to officialy enter the city from the basilica.
Inside the church, which is divided into 3 naves separated by solid pillars with 11th-13th century capitals decorated with animals and foliage, important historical and artistic remains are kept. Since the 4th century, the relics of the legendary Three Wise Men have been worshipped. According to popular tradition they arrived in Milan directly from Constantinople, in a simple stone sarcophagus, as a personal gift of the Emperor of Byzantium, Constant. The precious relics were stolen in 1162 by Archbishop Rainald, the Chancellor to Emperor Frederick Barbarossa. He was not only interested in the prestige of his own cathedral in Germany but also had a particular interest in the Three Wise Kings, as the initiators of monarchy by divine investiture. Even though it is empty, the sarcophagusis still kept at the end of the right nave of the church, in the same area as the altar of the Three Wise Men. Set into the altar is a precious marble altarpiece with scenes depicting the Wise Men's journey.
Favoured as their final resting place by the most affluent families of Milan, the right side of the basilica has a series of aristocratic chapels that are still admired for their beauty.
Outstanding among them is the 15th century Portinari Chapel, one of the first testaments to the Renaissance in Lombardy. The elegant style reflects that of the client, Pigello Portinari, a descendant of the family of Dante's Beatrix. To win the favour of the lady of the city, Bianca Maria, a devotee of St.Peter the Martyr, he commissioned the Florentine architect Michelozzo (Florence, 1396-1472) to build the chapel and dedicated it to the Saint. The chapel also incorporates the art of the Lombard Vincenzo Foppa (Brescia, app. 1427-app. 1515). What is noticeable is the adherance to reality and the naturalistic perception of light. Included amongst his works are the "Angels", the "Doctors of the Church", an "Annunciation", an "Assumption" and 4 episodes of the life of St. Peter from Verona. In the centre of the Chapel the marble ark of St. Peter, a work by Giovanni di Balduccio (Pisa, first half of the 14th century), shows the best of the Tuscan's art with the 8 figures of the "Virtues" set as caryatids to support the sarcophagus.
Also worthy of mention is the marble polyptych of the main altar, an exquisite and rare artwork in Gothic style from the late 14th century.
The bell tower was built between 1297 and 1309 according to the Lombard patterns, with the contrast between the brickwork and stone quoins placed at the corners. It is the first city bell tower to have a clock, and is also interesting for its cone-shaped roof.