The Basilica of San Lorenzo was probably built between the fourth and fifth centuries AD
Compared to the Ambrosian basilica, stands still for centuries maintained a central plan, capped by 4 towers and 3 buildings connected to satellites such as the Shrine of Sant'Aquilino, that of Hippolytus, and as the last of San Sisto.
remain uncertain of the reasons why the building was constructed and the exact date. Remain safe when the 258 years during the month of August all three saints were martyred, and 465 when the Archbishop Eusebius was buried in the chapel of St. Hippolytus.
Scholars are fairly unanimous in recognizing that the church was a building with perhaps imperial civil function. Connected to the Holy Sepulchre in Jerusalem, Hagia Sophia in Constantinople and the Pantheon, was to link the capitals of the empire and ideally represent the myth of the Roman world.
Some people want to recognize the famous basilica Portiani used by the Aryans with the Bishop Auxentius and then occupied by Ambrose for over 4 weeks, waiting for the surrender of the Aryans. It is said that it was during this forced stay in the building, that the great Archbishop wrote the Ambrosian hymns.
FOUNDATION
The excavations began in 700 and continued into the next century with the Amati and Kothe. In 900 he occupied other hand, the architects Annoni, Giani, Calderini, clerics and Mirabella Roberti. Through this work it was discovered that the basilica was built in a very marshy which flowed in the channels of the river and the Seveso Vetra, formed by the waters of the Olona and then proceeded with the name of Channel Vettabia south. The area of \u200b\u200bPiazza Vetra was then recognized as that of the Roman port. To maintain a building on such land, it was therefore necessary to prepare, drain and consolidate the soil with other materials.
Research has demonstrated the recovery of materials from the ancient amphitheater, which reinforces the recognition of the church as a building linked to the imperial power . After the end of the games arena, it is claimed that at least the outer ring of the amphitheater was completely dismantled to create the foundations of San Lorenzo. It was not necessary to keep a building no longer used, and also to address the lack of building material, it was decided to delete the old building. If this were true, the dating of the basilica of San Lorenzo can be dated before 402, the year in which the court moved from Milan to Ravenna. Whether it was building an imperial is reinforced by the fact that when he entered the Barbarossa sacked Milan and in 1162, did not touch the four towers of the church. Of course, the famous emperor could not get to destroy a construction bound to the Holy Roman Empire and that he wanted to keep. Excavations it was learned that the body of the church and chapels, and Sant'Aquilino Sant'Ippolito are coeval, while San Sisto is the latest.
part of the foundations are clearly visible in the Shrine of Sant'Aquilino. Specifically found during the excavations of 1910-11, the underground (- 4 / 7m) is also shaped blocks of different materials. We recognize fragments of columns, capitals. The blocks are positioned either horizontally or vertically and are welded together by mortar. Below is instead a layer of concrete that rests directly on a pile of oak laid in the ground. Visible remains of a drainage channel that allowed the soil to drain and convey the water into the lower parts, compacting the soil.
COLUMNS OF SAN LORENZO
Thanks to the excavation it was possible to affirm the presence of a portico in front of the basilica. It still recognize the 16 columns (7.60 m h) dated to the second century AD Roman C.
It was discovered for the first time in 1071, when the church and surrounding buildings suffered a fire. Musso marble, fluted and have refined and several Corinthian capitals, is supposed to come from the same building, probably result, which however has never given a name. Were modified during the Middle Ages, between 1200 and 1400, adding a brick plinth and lintel. Around 1530-50 he settled the first attempt at dismantling the colonnade to the steps of Charles V and his entourage. To this was opposed by the governor Ferrante Gonzaga. In 1786 he opposed the hand of Prince Kaunitz, as opposed to the proposal that he wanted to use Pollack for a new facade of the Brera. In 900 it was proposed to be moved to the Castle for even more storage. In 1934, the plan promoted Albertini complete destruction of the houses that occupied the quadrangle. The opening of the new church square, emphasizes the form of the space. Mussolini did you place a copy of the statue of Emperor Constantine located in Rome, but the columns have been restored and consolidated retained in their original positions.
facades and exterior
The facade of the basilica dates back only to 1892, designed by Cesare Nava. 500tesche faithful to the ways of the Netherlands, the facade is based on the order giant. The front is preceded by a portico with three arches with elegant pilasters with Ionic capitals. It is then topped by a frieze with folders in which we read the dedication and a broken cornice. The material used is cement similpietra. Beyond the portico stands the lantern of the dome and flanked by two towers - the fortress. To the left of the tower is to be severed, perhaps as a result of the fall of 1573, right in the Romanesque period that was turned into a bell tower was equipped with a cell bay. Beside the church buildings appear Canoniche School, built by Cardinal Federico Borromeo in 1625ca designed by Aurelio Trezise. Amended and supplemented in the years 30 of 900, also allow you to imagine a more concrete way in the full form of the old quadrangle.
looking at the outside we can see the different wall structures of the various buildings that make up the complex, and interventions over the centuries. Between colors and shapes, you can see perfectly the lobby of the Shrine of Sant'Aquilino link that shows the original isolation of the chapel. The walls of the chapel is original except the upper gallery where fake marble columns with capitals were replaced by brick pillars.
INTERNAL
The plant consists of two concentric squares bolted to the sides, with continuous ambulatory and four square towers at the corners. The damage may esedre pierced quatrefoil shape. The materials used are stone, log Lombard, gneiss, granite of Baveno. The esedre have ribbed spherical shells and open upstairs in the gallery, perhaps originally reserved for members of the imperial family and to high administrative and military hierarchies. The esedre are connected by arches that allow you to see the piers of the ancient square and their towers. The diagonal arrangement of the arches can perceive a central form of irregular octagon. This is due to the intervention of Martin Bass, who designed the restoration of the basilica after the collapse of the dome in 1573, occurred because of failure of a capital in the gallery.
A description of the eighth century, defines the church covered with marble and gold mosaics and marbles. The space is now being solemn and very attractive due to the abundant use of stone material that highlights the different contrasts of chiaroscuro, of full and empty off by esedre. The Netherlands energizes the decorations linking the Ionic pilasters and cornice of the gallery chesa, adding a grating decorating the capitals of the piers. The intervention of the Netherlands in the dome is recognized primarily for the modification of the central square, facilitating the transition to the lantern. Up the square shrinks giving balance to the lower amplitude of the arc of curvature than esedre. The structure of the dome rests on the pillars of part ground floor and part of the plumes. The pylons were swollen again in 500.
At the chapel of St. Hippolytus, one of the piers of the church is made of the detail of a column upside down, a symbol of Christianity over paganism winner.
CHAPEL Sant'Aquilina
The chapel is recognized in the past as the church, covered in marble red - yellow mosaic. Probably arose as a mausoleum for a great figure of the imperial court in Milan. Always dedicated to St. Genesius, the shrine was later dedicated to Sant'Aquilino in the fifteenth century. Legend has it that a group of porters found his body pierced through the throat in 1015, right near the basilica.
The atrium forceps before the chapel date from the fifth century AC. is covered by a Roman barrel vault. A dense mosaic decoration in two registers graced all four walls of the atrium. Today there are a few fragments that still show the high quality of work done. The remains of mosaics were found only around 1930. Figures Human-size could be the lower end of the patriarchs of the tribes of Israel in the space above the Apostles were probably among the marble columns and golden backgrounds. The blue background instead of being allowed the city of New Jerusalem. The other sides depictions of saints and the crucifixion on the south wall still Gothic. The main entrance to the shrine itself is made from slabs of Carrara marble in the first century AD C. is decorated with plant motifs, acanthus leaves, palm leaves, but also spirals, cornucopias, fruit baskets, cherubs, animals, gods, chariots, marine animals. Some scholars identify these decorations as the planetary deities moving in the sky. We do not know the exact provenance of marble: it could be also a public building of Rome itself.
The chapel has an octagonal shape with alternating semicircular and rectangular niches. Was originally to be completely painted with marble, frescoes and mosaics, especially in the '500 replaced. Once the dome with an umbrella in it and clay pipes have been identified for the ribs. It has a diameter of about 13m.
Curiosa exedra right the presence of a sarcophagus traditionally entitled to Galla Placidia. In reality it could be an altar of the third century, used as grave of Bishops.
apses southeast / south-west remain the remains of mosaics.
To the west, well kept, the scene of Christ among the Apostles teacher. You will recognize the patella in the basket at the foot of the Savior as the books of the Old and New Testament. The one held in the hands of Jesus and the Apocalypse. The lakes and the landscape are the golden paradise in which they expect the righteous. Christ is beardless although adult, to emphasize the gradual transition from paganism to Christianity.
East recognizes instead a scene with a quadriga, seen as the ascension of Elijah. However, the absence of key characters, the landscape is recognized Arcadia, illuminated by the rising sun. It is thus the cult of Sol Invictus, which is recognized as a result of which is in Christ the King and the Sun of Justice. According to tradition, moreover, that the sun rises on December 25 by entering through the window above the mosaic, the reality of this religious symbolism.
's urn Sant'Aquilina
The idea of \u200b\u200bmoving the remains of the saint was in this chapel of St. Charles Borromeo. Around 1658, the brotherhood of Sant'Aquilino decided to carry the relics in a shrine of rock crystal and silver. The project was entrusted to Garavaglia, who created a shrine quite similar that your Cerano accomplished at the Duomo in Milan to San Carlo. In 700 the altar was adorned with a frontal of Scajola.
The vault was hand painted in 1570 by Joseph Bossi Gabriele Galber with the Evangelists and the Fathers of the Church.
to you instead find the entrance to see the famous foundation. One clue is the Shrine of Sant'Aquilino.
I hope that your visit will not be disturbed by the groups that you might herald the discovery. Find out and see them all at the moment is something unique!
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