Milano, San Nazaro Maggiore

The visit to S. Nazaro offers a sort of archaeological itinerary throughout twelve centuries (IV-XVI) of architectonic history. S. Ambrogio founded it as "Basilica of Apostles" in the IV century (382), then he re-named it as "S. Nazaro" in 396, in honour of the martyr's body he had just moved there, after finding it in the Three Moors countryside. Half-destroyed by a fire in the XI century, it was re-built in Romanesque style, and transformed again during the Baroque and Neoclassic ages: the radical post-war restructuring revealed that part of its structure was still the original Paleochristian one of the IV century. After 1540, Bramante's disciples constructed the Oratory of S. Caterina very close to it, as well as, some decades before, Bramantino had built the so-called Trivulzia just facing the church's façade, so that it is completely hidden to visitors coming from Corso di Porta Romana.
Therefore, since 1512 the façade, reconstructed during the Romanesque age, was no longer visible after the construction of the Trivulzio Chapel on the same hall. The mausoleum, commissioned by G. Giacomo Trivulzio to host his family tombs together with his own monument, is a square structure with two other buildings attached. From via Pantano it is possible to enjoy a suggestive view of the outside of the Basilica and the outstanding compound of the Romanesque-style apse. On the right, the Renaissance-style front of the Oratory of S. Caterina; behind it, the cupola and the thousand years-old bell tower of terracotta. To go inside, you have to pass through the Trivulzio Chapel, which has an octagonal plan; the basilica presents a Latin cross plan: the restructuring of the last decades have revealed that the temple, in the foundations and in the planimetry, as well as in the main part of the construction, is still the original one of the IV century, whereas for the rest it is in Romanesque style, except some later elements which could not be removed. Visitors coming from Porta Romana, will see the Trivulzia first; from here the visit continues to the Basilica through a big crystal passage which, on both sides, lets visitors see the stonework decorations and frescoes of the once medieval façade. The single, wide nave of the Basilica states, in its solemn simplicity, its Paleochristian origin. The right wing of the church (the big relieving arch and the two shafts sustaining it are from the IV century) consists of two semi-cycles which, together with their doubles on the opposite side (at present reduced to one), date back to the period of the basilica's foundation and were designed by S. Ambrogio to let catechumens attend the services separately. The semi-cycle on the right side preserves an early Mannerist "Last Supper" by Bernardino Lanino (Vercelli, 1512-1582/3); then remnants of a Paleochristian floor and the stone with Christ's Greek monogram (CHI-RO). The left wing of the church, preceded by a Romanesque big arch positioned on two original, IV century shafts, shows a carved wooden altarpiece of German style of the first half of the VI century depicting "The Adoration of the Kings" and two fragments of 1360. The Oratory of S. Caterina is a beautiful example of Renaissance style, enriched by a cycle of frescoes by Lanino: "Life and Martyrdom of the Virgin Caterina of Alessandria", in which, on the background, the painter portrayed himself with a black beard and a cap. Over the entrance towards the street there is a prestigious stained glass window of Nordic school (late V century) representing in 12 scenes the "Episodes of the Life of the Martyr".