Itineraries


A church dedicated to Saint Ambrogio already existed in Vigevano before the year 1000, as is said in some documents dating back to 963 and 967 and preserved in Novara Capitular Archives. The present cathedral was built after Antonio da Lonate's project in 1532, according to Duke Francesco II Sforza's will.It lies on the site of a church of 1465, whose apse and choir were mantained. After the duke's death in 1535, work went on very slowly for lack of funds, and only in 1606 the principal structures came to an end. The church was consecrated in 1612 and the new baroque faìade, designed by the Spanish Bishop Caramuel was built in 1680. The dome was raised in 1716 and the Capitular Sacristy, built in 1534, was furnished in 1753, over two centuries later. In 1818 the bell tower, built in 1450 on a pre-existing tower of '300, was made seven metres higher and crowned with Ghibelline merlons. The faìade The faìade planned by the bishop Caramuel Lobkowitz in 1680 was restored by architect Moretti in 1910. It is adorned with statues of the Virgin Mary, two angels, Saint'Ambrogio, Saint Charles and two granitic obelisks. The ingenious planning of the new faìade, built in axis with the square rather than with the inside of the church, was subdivided into four parts, with four portals; the left one hides the entrance to the square from Via Roma and the right one camouflages the small yard below the bell tower. This yard has been provided with a baptismal font since 1970. The interior The form of the cathedral is that of a Latin cross and the inside has maintained the original characteristics of the Renaissance, with a nave and two aisles supported by strong pillars surmounted with golden capitals. On the vault of the Nave there is a large "fresco" painted in 1857 by Francesco Gonin from Turin representing: -Saint Ambrogio acclaimed Bishop', "Saint Ambrogio's consecration" and "Saint Ambrogio expelling emperor Teodosio from the temple". Starting our tour from the right aisle, we find:
- The ancient baptistery surmounted by an elegant octagonal ciborium in carved wood, behind a wrought iron rail of the seventeenth century.
- The first chapel is the chapel of "The Crucified"(1); it contains a painting of the "Crucifixion" with the signature "Caesar Magnus 1531", which was given to the cathedral by Francesco II Sforza on March 10, 1534. Inspired to some extent by Leonardo, the work wonderfully emphasizes the absorbed and painful face of Christ with the Virgin Mary, Magdalene, St. Jerome and St. John together at the foot of the Rood.
- Then the Chapel dedicated to Saint Elisabeth (2) and the one (3) dedicated to the Saints, Philip and James, the weavers' protectors, follow.
- At the end of the right aisle, opposite the Transept, there is St. Charles's Chapel (4), erected in 1581, three years after the apostolical visit of the Saint to Vigevano. Noteworthy in the chapel is the 18th century main altar whose altar-piece was painted by Francesco Lorenzi, a pupil of Tiepolo's. The paintings dating from 1858 are by Cesare Ferrari, from Milan and Francesco Gonin from Turin. On the left wall is preserved a notable painting coming from the destroyed church of the "Convento delle Grazie" (Monastery of Graces) which represents the Virgin with her Son between Saint Clare and the Blessed Maccasolio. The distinctive work dating from 1502 is attributed to Macrino from Alba. Aside is remarkable the oil-painting dating 1530 by Bernardo Ferrari, a painter from Vigevano, representing St. Thomas from Canterbury, Saint Bernardino and Saint Clare. On the right wall you can see a fine 16th-century painting by an unknown author, representing bishop Maurizio Pietra, and a late 15th-century triptych with Saint Agustine between Saint Monica, Saint Sempliciano and Saint Ambrogio. The mosaics are a work by Cesare Cassio of Vatican St. Peter's school, dating from 1948.
- In the ambulatory leading into the Capitular Sacristy (5) you will notice a big wooden Crucifix which once was in the collegiate church of St. Ambrogio, a 16th-century work. On the right farther on Galeazzo Pietra's tomb, the first Vigevano bishop, carved by Bernardo Romano in 1550. Against the organ case stands the large 16th-century canvas by Bernardo Ferrari representing "St. Ambrogio's Apparition at Parabiago Battle.
- The Main or Capitular Sacresty (6) is a valuable and austere room. Wonderful carved polish walnut pieces of furniture dating from 1753 are lined up at the walls. The vault was restored in 1910 by Vigevano painters Barni and Biggi. On the front wall especially notable is an original and splendid wooden frame carved by Pietro from Sesto and gold-plated by Giuseppe from Vercelli, inside which there is a copy of the"Pentecost" by Bernardo Ferrari; the original work, Francesco II Sforza gave to the Cathedral in 1533, was stolen by the French in the 17th century. Below this painting there is "The Last Supper", a copy made by G. B. Garberini from the original by Ferdinando Gatti that is now preserved in a room of the Episcopal Palace. From the right side of the Sacresty a door leads into the Museum of the Cathedral Treasure (See later on).
- Crossing the transversal nave (7) you can notice the overhanging dome (43 metres in height) with the eight Beatitudes painted by Francesco Gonin. Above the High Altar, in the apse basin, especially notable is "Saint Ambrogio's Glory" a fresco by Vitale Sala. On the vault the paintings by Gonin are dedicated to the Holy Trinity, to Saint Marcellina and to Saint Satyr. In the Transept wings are works by Gallo Gallina (1857), while in the lunette above the High Sacresty door can be admired "Saint Peter walking on the Waters" by Mauro Conconi (1858) and in the left lunette, a painting by the Vigevano painter G. B. Garberini.
- In the Presbitery and Chorus (8) the High Old Altar of 1600, already remade in 1828, was replaced by a new one in 1971 which preserves a frontal built in 1700 and some sacred 16th century embroideries. Worth mentioning is the organ which replaces the 1554 one (maybe by Costanzo Antignani), remade in 1791 and in 1845.
- Going back along the left aisle there is the Chapel of the Virgin Mary (9): above the Altar in Carrara marble, dated 1858, it contains an exquisite example of a Renaissance wooden sculpture representing "The Blessed Virgin" which was moved here in 1615 when the Castle church was demolished. Above on the left, behind the grill, the mortal remains of the Roman St. Vito are preserved. The paintings on the walls are by Francesco Gonin from Turin.
- After the Chapel of St. John the Baptist (10), we find the Chapel of St. James and St. Christopher (11); above the altar noteworthy is a wonderful tempera polyptych dating from the end of the fifteenth century attributed to Andrea Salaino, a pupil of Leonardo's. The "Virgin Mary with the Child" is in the middle with "The Deposition" above it; on the right "St. Francis" and "St. Christopher", and on the left "St. James and St. Dominic" raising a Church Model. Undoubtedly this is the most valuable artistic work that can be seen in the Cathedral.
- Next are the chapel of St. Anthony (12) and the chapel dedicated to the Redeemer (13), with a large painting by Bernardino Gatti, known as the "Soiaro", a pupil of Correggio's. Before leaving the church, have a look at the memorial tablet on the back of the faìade above the inner door; it reminds of the Cathedral dedication in 1612. The two madallions aside represent St. Cecilia and St. Sebastian.

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