The main facts of Milanese story are well known, and may be found, not only in the native chroniclers and historians, but also in many modern books dealing with Milan and with Italian history generally. Mongeri’s _L’Arte in Milano_, and the writings of Count Malaguzzi Valeri, especially his _Milano_ in the series “Italia Illustrata”, have been my chief help in the topographical and artistic part of this book, and I have also made use of the works of Signor Luca Beltrami, Mrs. Ady and others. For the painters and pictures I have depended on Morelli, the acknowledged authority on Lombard art, and have consulted besides the writings of Dr. Gustavo Frizzoni, of Mr. Herbert Cook, and other modern critics. E. N. SUTTON VENY, WILTS, _November 1907_ ———————————————————————————————————————————————————————————————————————— The Story of Milan [Illustration] CHAPTER I _The Ambrosian City_ “Verenanda est Roma in Apostolo. Sed nec spernendum Mediolanum in Ambrosio.”—ARNULPHUS. Milan is to-day the most modern of Italian cities. Her Risorgimento in the last century, accomplished with the pouring out of blood and the efforts of a strenuous virtue, makes for her a mighty and sufficing past in the near background, and she seems to stand wholly on this side of it, triumphant and new-create. Neither Nature nor the further centuries have, you feel, any longer part in her. Who of the numberless travellers from the North, as they lose the vision of mountain, lake and green champaign, just traversed, in the bustle and confinement of the crowded streets, realises that this solid mass of brick and stone, this vast hive of human beings, is the slow product of that enchanting country, of its rivers and fertile soil, built up and moulded by human passion and labour during thousands of years amid the changes and chances of extraordinarily varied fortunes. Only when his eyes, lifted above the regular roof-lines of the modern streets, light upon the Gothic pinnacles of the Duomo, and a further acquaintance with the city discovers, wedged among the growths of yesterday, the many relics of her older past—the Castle of the fifteenth century Sforza, Renaissance palaces and churches, St. Ambrogio and its compeers of the era of liberty, a rare fragment of the older imperial civilisation—does he become conscious of the long and painful course of the centuries, and remember that he stands in the secular capital of Lombardy, on ground as storied almost as the sacred dust of Rome.