Central plaza flanked by the cathedral, the Royal Palace & the Galleria Vittorio Emanuele II arcade.

Duomo di Milano

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Galleria Vittorio Emanuele II

Parco Sempione

Sforzesco Castle

Arco della Pace

Cathedral Square

Cathedral Square in Milano, more formally known as Piazza del Duomo, is dominated by the Duomo itself, a flamboyant Gothic masterpiece whose pink-hued Candoglia marble façade is perpetually under restoration. The square's paving, a geometric pattern of pink marble, subtly directs the eye towards the cathedral's entrance. Look closely at the equestrian statue of Vittorio Emanuele II; legend says that climbing onto the horse's back brings good luck, though it's strictly forbidden. The Galleria Vittorio Emanuele II, often mistaken as part of the square, opens onto it, its glass-domed roof creating a shimmering effect on sunny days. The square's design, a product of numerous urban planning competitions, reflects a desire to create a grand civic space, yet its inherent asymmetry provides a dynamic tension. The Arengario palaces, flanking the Duomo, were built during the Fascist era and now house the Museo del Novecento, offering a contrasting architectural style. The so-called "biscione," the Visconti family's heraldic serpent devouring a child, is subtly incorporated into various architectural details around the square, a reminder of Milan's powerful past.

Introduction

Piazza del Duomo, or Cathedral Square, in Milan, Italy, originated in the 14th century with Azzone Visconti's vision to create a market square by demolishing taverns around the city's central churches. Initially named "Piazza dell'Arengo," it served as the seat of local government. Visconti's successor, Gian Galeazzo Visconti, expanded the square by demolishing the bishop's house and baptistery.

Despite these expansions, the square's development remained gradual for decades, marked by the demolition of the Santa Maria Maggiore basilica to make way for the Duomo's construction. In 1458, Pope Pius II authorized the demolition of Santa Tecla to create a square befitting the Duomo's grandeur. However, Santa Tecla was partially rebuilt, only to be demolished again in the mid-16th century.

A significant transformation occurred in the late 18th century when Giuseppe Piermarini redesigned the arengario into the Royal Palace, creating a smaller piazza adjacent to Piazza del Duomo, effectively enlarging the open space. The square's current form is largely attributed to architect Giuseppe Mengoni in the second half of the 19th century, who introduced monumental buildings, including the Galleria Vittorio Emanuele II arcade. The square also features a bronze statue of Emanuel II, the first king of the Italian Kingdom, at its center.

Historical Significance

Giuseppe Mengoni significantly shaped Piazza del Duomo in the second half of the 19th century, leaving an indelible mark on its current form. Commissioned in 1865 after a design competition, Mengoni's restructuring enlarged the piazza through the demolition of the "Rebecchino" neighborhood and the Coperto dei Figini. His most notable contribution is the Galleria Vittorio Emanuele II arcade, constructed between 1864 and 1867, which stands as a testament to his architectural vision. Mengoni also designed the two "Palazzi dei Portici" that define the southern and northern boundaries of the square.

However, Mengoni's work faced challenges, including financial difficulties encountered by the City of Milan Improvements Company of London. The government of Milan had to step in, and parts of the Galleria were sold to private owners to ensure completion. Despite funding problems, Mengoni initially planned two triumph arches, funding one himself when the project was endangered. Tragically, Mengoni died in Piazza del Duomo in 1877, falling from scaffolding while overseeing the works; only one arch, at the Galleria entrance, was completed. The statue of King Victor Emmanuel II, inaugurated in 1896, marked the culmination of the redesign initiated in 1860, solidifying Mengoni's lasting impact on the piazza.

Giuseppe Mengoni's Redesign

Piazza del Duomo, or Cathedral Square, serves as a focal point for Milan's artistic and cultural vibrancy. Originally conceived in the 14th century, the square's design, largely attributed to Giuseppe Mengoni in the 19th century, integrates monumental buildings that enhance its cultural significance. Mengoni's addition of the Galleria Vittorio Emanuele II arcade further solidified the piazza's role as a cultural nexus, connecting it to other key artistic locations like Piazza della Scala.

The square's importance extends beyond its architecture, acting as a starting point for exploring Milan's rich artistic heritage. From Piazza del Duomo, major streets lead to significant cultural landmarks, including the Duomo itself, a masterpiece blending Nordic and Lombard Gothic elements. The square's proximity to cultural institutions like the Royal Palace, the Civic Museum of Contemporary Art, and the Teatro alla Scala enriches its appeal to art enthusiasts.

Moreover, Piazza del Duomo's historical evolution reflects Milan's changing cultural landscape. From its origins as a market square to its current status as a tourist magnet, the piazza has consistently adapted to the city's artistic and social developments. Its location as a central hub makes it a prime location for experiencing Milan's blend of historical and contemporary artistic expressions, attracting millions of international visitors annually.

Artistic and Cultural Hub

The architectural evolution of Piazza del Duomo began in the 14th century with Azzone Visconti's vision to create a market square, initially named Piazza dell'Arengo, by demolishing taverns around the basilicas of Santa Maria Maggiore and Santa Tecla. This marked the initial transformation of the area into a public space. Further expansion occurred under Gian Galeazzo Visconti, who ordered the demolition of the bishop's house and baptistery, although significant development was delayed until the Duomo's construction necessitated a larger square.

A pivotal moment arrived in the late 18th century when Giuseppe Piermarini redesigned the arengario into the Royal Palace, indirectly enlarging the open space. However, the square's modern form largely owes its existence to Giuseppe Mengoni, who initiated renovations in 1865. Mengoni's design introduced monumental buildings, excluding the Duomo and Royal Palace, and most notably, the Galleria Vittorio Emanuele II.

Mengoni's architectural plan featured a flat surface covering 17,000 square meters, characterized by geometric symmetry and a blend of architectural styles from medieval to modern. The inauguration of the equestrian statue of King Victor Emmanuel II in 1896 marked the culmination of Mengoni's work, solidifying the square's design. Subsequent additions include structures like the Carminati Palace, showcasing Art Nouveau, and the Palazzo dell'Arengario, built during the Fascist period, further layering the square's architectural narrative.

Architectural Evolution

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