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Private Art Collections
Some of the many private art collections established throughout the centuries in Milan still preserve their 'private' character, although they do have a profound social role and are usually open to the public.

The most outstanding among these - and the first great Milanese cultural institution of its kind - is the

Ambrosiana

  a key to Milan home page space
excerpt from pages 83-86
SIGHTSEEING
Ambrosiana
The narrow Via Cardinal Federico on the left side of the Ambrosiana building recalls the name of the Cardinal and Archbishop of Milan, a member of the Borromeo family, who in 1609 arranged here - in this building, constructed ad hoc to projects by Fabio Mangone and Ricchino - a grandiose collection of ancient manuscripts, parchments and books. He had himself commissioned their collection throughout Europe and the Middle East.

The aim of this research institute was to defend Catholic orthodoxy in a time of threatening polemic with Protestantism. The manuscripts collected in the Biblioteca Ambrosiana (Ambrosiana Library) were intended to contribute to studies to establish the only official version of the Bible. This was in purposeful opposition to Martin Luther's German translation of the Bible and, especially, to his theory which favored the free interpretation of the sacred texts.
A few years later, Cardinal Federico added an Academy of art studies to the Library, donating to it his personal collection of paintings, and thus founded the Pinacoteca Ambrosiana (Ambrosiana Gallery).
Since then the initial combativeness in ideological matters has obviously mellowed considerably, while the collections have steadily grown in scope and size. Today the Ambrosiana is a private and autonomous ecclesiastical foundation, directed by four scholars and by a Prefetto (curator-in-chief). Its atmosphere is a peculiar mix formed, on the one hand, by awareness of being one of the most prestigious cultural institutions in the world and, on the other, by an air of familiarity typical of certain old Milanese institutions.

On entering the building, a door beside the custodian's desk leads into the luminous reading room of the BIBLIOTECA AMBROSIANA - until 1922 this room was the main courtyard of the building.

In the dark rooms around are preserved books and very old prints, often extremely rare, and over 30,000 manuscripts, among which treasures of Hebrew culture and Oriental and European Bibles as well as some of the first illustrated manuscripts, going back to the 3rd century AD. There are also drawings by the Old Masters, and the Codex Atlanticus, over one thousand pages of drawings by Leonardo. Consultation of many of these texts is strictly for researchers, but facsimile reproductions are available.
Although this boundless cultural wealth of the Biblioteca Ambrosiana has not all been reexamined with the latest methods in recent time, reference can be made to numerous critical works elaborated by academics the world over.

The PINACOTECA AMBROSIANA is more readily available to non-professionals. It is apparent that Cardinal Federico favored 16th century Venetian painters as well as his own Lombard contemporaries, and that he had a predilection for Dutch culture. Subsequent donations have, nevertheless, broadened the Pinacoteca's scope.

We will list some of the greatest artists whose work is among the collections here. Tuscan Renaissance: Botticelli, Ghirlandaio, Leonardo da Vinci (The Musician); Lombard and Venetian Renaissance: Bartolomeo Vivarini, Bergognone, Luini, Bramantino, Leonardo's school. Besides Raphael's enormous cartoon for his School of Athens in the Vatican, the gallery has works by Magnasco, Tiepolo, Caravaggio (Basket of Fruit), Barocci, Moretto, Tiziano, Bassano, and the typical 17th century Lombard painters Tanzio da Varallo, Cerano, Daniele Crespi. The main Dutch works of this collection are by the primitive Geertgen tot Sint Jans (Virgin and Child), and by Jan Brueghel, who was a personal friend of Cardinal Federico: this series of small paintings by Brueghel is one of the gallery's true gems.


 
Piazza Pio XI 2
nearest subway stations
Duomo or Cordusio
reopened after restoration
on October 21, 1997

10AM - 5:30PM
• closed Monday and on public holidays

entrance charge

tel. 02 806921
The other great 17th century Milanese art collection is that of Cardinal Monti. It can be seen only by scholars with references, because it has been property of the Arcivescovado since 1650.

Another excellent example of a completely different type of Milanese private collection is instead open to the public:

Museo Poldi Pezzoli

   
Museo Poldi Pezzoli
Gian Giacomo Poldi Pezzoli, the founder of this illustrious museum-home (which is one of the most prestigious in the world) was, on the maternal side, a Trivulzio, one of Milan's oldest, most cultivated and most endowed families. In his frequent travels in Italy and abroad, his knowledge of the arts was enhanced and he purchased numerous art works - his acquisitions reveal his particular taste for Italian paintings from the Renaissance to the 18th century. He also became very interested in applied arts such as arms, porcelains, tapestries, jewelry and antiques. The Poldi Pezzoli collection was gradually gathered together in the building which still houses it today.

Gian Giacomo Poldi Pezzoli arranged his home in a way which would show his sophisticated collection to full advantage, giving each chamber a different color tone and style designed to suit the art works exhibited therein. After Poldi Pezzoli's death (1879), his museum-home became a foundation - as he had willed - and has been open to the public since 1881. To offset the damages caused by the bombardments during World War Two, the building was rebuilt to reproduce as faithfully as possible its original style and ambience, although the rooms were adapted to the necessities of a larger public.

The Poldi Pezzoli Foundation is attentive to the problems of artistic preservation, to the accuracy of its exhibitions and to the educational function of art. It publishes books and has a comprehensive catalogue of its collections. It also organizes regular temporary exhibitions.

The Portrait of a Young Woman, a 15th century masterpiece by the Tuscan painter Piero del Pollaiolo, has become the symbol of the museum. It truly is one of the most exciting works in the exhibition, but it is by no means the only one. On the ground floor a collection of arms of outstanding rarity is exhibited, and the 'Sala dell'Affresco' is named after a ceiling fresco which was brought here from a Lombard villa; it is only on reaching the first floor however - the fountain by the staircase was built in the 19th century in Baroque style - that you get into the very heart of the collections.
Here are paintings by masters of the Lombard Renaissance: Foppa, Zenale, Luini, Solario, Cesare da Sesto, along with the Venetians Giovanni Bellini, Andrea Mantegna, Cima da Conegliano, Lorenzo Lotto, and the Central Italians Pollaiolo, Piero della Francesca, Botticelli, Perugino. There are also remarkable artworks of the Flemish school, of some 17th & 18th century Lombard painters such as Morazzone, Procaccini, Nuvolone, Magnasco, Fra' Galgario, and of the Venetians Giambattista Tiepolo and Francesco Guardi. A double portrait of Luther and his wife comes from the studio of Lukas Cranach.
Other rooms exhibit collections of antique clocks - a gift of the Falck family of steel magnates -, sundials - a gift of the Portaluppi family -, small bronze sculptures - belonging to the Crespi family -, Murano glass, jewels and lacework. The extreme heterogeneity of these collections allows unusual juxtapositions and comparisons, and makes a visit to the museum full of surprises. One of these is a small processional cross, considered of late to be the work of the young Raphael.


 
Via Manzoni 12
nearest subway stations
Montenapoleone
10AM - 6PM
• closed Monday

entrance charge

tel. 02 794889
E-mail
website
A second very important private collection of 19th century origin has recently (1995) been opened as an exhibition not far from the Poldi Pezzoli Museum. It is the

Museo Bagatti Valsecchi
   
Museo Bagatti Valsecchi
At the end of the 19th century, two rich barons and lawyers, Fausto and Giuseppe Bagatti Valsecchi, sons of a sketcher and miniaturist, decided to turn their home into a neo-Mannerist-style 'palace'. They succeeded so brilliantly that, on first impact, a non-specialist will be convinced that he is treading the grounds of an authentic 16th century palazzo.
The tasteful blending of authentic works (collected throughout Lombardy and elsewhere) with ornaments and decorations that are simply remakes of the original is stretched to its limit. You will thus find original tapestries set in mock-antique fabric surrounds and original panels in 'false' frames. The Bagatti Valsecchi home is a fascinating document of Milanese 19th century artistic taste, as well as of 16th century Lombard art.

The transformation of the Bagatti Valsecchi home into a foundation is quite recent, because the family occupied this house until just a few years ago.
Besides some masterpieces by Northern-Italian Renaissance painters Giovanni Bellini, Zenale and Gianpietrino, there are many rare antiques such as a carved bed from Valtellina and an extremely rare folding chair of the 15th century. There are also a very unusual seat decorated with woodcuts, and some adorable remakes such as a shower decorated to look like a Renaissance drinking-trough, and a wrought iron basin with running water.


The cultural activity of well-to-do Milan is concentrated chiefly around these private museums.
The Museo Bagatti Valsecchi organizes various activities connected with gracious living in late 19th century homes (specialized courses on the applied arts, visits to private homes with interiors and furnishings of particular interest, seminars on aspects of 19th century culture). All the relative information can be obtained from the museum.
The Friends of the Poldi Pezzoli Museum Association - which runs cultural courses, guided visits, excursions and study tours - has its own premises, though adjoining the museum (Via Morone 8, 3 -6 PM, closed Saturday and Sunday, tel. 02 780872); new members have to be presented by an existing member.


 
Via Gesù 5
nearest subway stations
Montenapoleone
1 - 5:45PM
• closed Monday and on public holidays

entrance charge

tel. 02 76006132
E-mail
website

All rights reserved
copyright © 1996-2003
Monica Levy, Roberto Peretta
copyright © 1996, 2002
Ulrico Hoepli SpA, Milano



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