The Veneranda Fabbrica’s restoration work has made significant progress, thanks to the generous support of our donors
CONSERVATION WORK
One of the most significant and innovative projects is undoubtedly that concerning the Basso Tiburio, namely the octagonal structure from whose roof rises the Guglia Maggiore. Thanks to an innovative study carried out by the Politecnico di Milano, it has been revealed that the in-situ reinforcement is subjected to much greater stress than previously thought: it is, in fact, an extremely delicate system that necessitates periodic inspections and ongoing maintenance. This restoration project is well underway and is expected to be completed by the end of 2025.
Further work is currently underway at the north-west transept, near the Trivulzio Chandelier, which have required cleaning of the surfaces and will include the restoration of stained-glass windows nos. 30 and 31. These do not present any serious problems but require conservative restoration aimed at improving the clarity of the scenes depicted, relating to Saint Catherine of Siena, the life of the Virgin Mary, and the Holy Apostles; the stained-glass windows are particularly affected by a build-up of dust and grease on the surface, which detracts from their brilliance and lustre. In addition, it has been noted that restorations carried out in past centuries have marred the faces of the figures, particularly in Stained-glass Window No. 30.
As for the apse area of the Cathedral, restoration work is continuing on the Southern Sacristy, also known as the ‘Capitolare’: in recent months, safety measures have already been put in place following the fall of small fragments of stone and plaster from above, and scaffolding has recently been erected on the external wall. This shows us the importance of also working on this part of the Cathedral, which is used daily by staff.
THE SCUROLO OF ST. CHARLES BORROMEO
One of the most significant restoration projects was completed in November and involved The Scurolo of St. Charles Borromeo. Derived from the dialect word ‘scuroeu’, meaning ‘small chapel’, it was designed by Francesco Maria Richini in 1606 beneath the High Altar of the Cathedral and has since housed the remains of St Charles Borromeo, patron saint and Archbishop of Milan from 1564 to 1584.
The restoration work focused on the entire decorative and architectural apparatus, which had suffered wear and damage over time, with the aim of making it accessible once again to worshippers and visitors: the cycle of wall and ceiling decorations in silver leaf, the wooden structure, and the precious tapestries covering the walls were all restored; the electrical system was also upgraded to ensure appropriate lighting for the space.
THE GREAT ORGAN OF THE CATHEDRAL
In July, one of the paintings that make up the decorative scheme of the Cathedral’s Great Organ was reinstalled, in particular the one depicting the Assumption of the Virgin, by Giuseppe Meda. The work on the ‘Musical Giant’ housed in the Cathedral is complex and time-consuming, and for this reason will continue at least throughout 2024.
Over the course of the year, we have achieved many of our goals, and for this we are once again grateful to the generous donors who have chosen to support us; however, there are still many objectives to be achieved, and for this very reason we renew our invitation to support Veneranda Fabbrica: with your donation, you will forever link your name to that of Milan Cathedral and contribute to the preservation of the beauty, culture and history of the Cathedral.
