page_title: Neoclassical architecture in Milan
section_title: Characteristics
hierarchical_section_title: Neoclassical architecture in Milan / Characteristics
context_page_description: Neoclassical architecture in Milan encompasses the main artistic movement from about 1750 to 1850 in this northern Italian city. From the final years of the reign of Maria Theresa of Austria, through the Napoleonic Kingdom of Italy and the European Restoration, Milan was in the forefront of a strong cultural and economic renaissance in which Neoclassicism was the dominant style, creating in Milan some of the most influential works in this style in Italy and across Europe. Notable developments include construction of the Teatro alla Scala, the restyled Royal Palace, and the Brera institutions including the Academy of Fine Arts, the Braidense Library and the Brera Astronomical Observatory. Neoclassicism also led to the development of monumental city gates, new squares and boulevards as well as public gardens and private mansions. Latterly two churches, San Tomaso in Terramara and San Carlo al Corso, were completed in Neoclassical style before the period came to an end in the late 1830s.
context_section_description: The Neoclassical period in Milan can be divided into three phases corresponding to three historical periods for the city in the 18th and 19th centuries: the Austrian period of Enlightenment, the Napoleonic years and the Restoration.
  In Milan, Neoclassicism began a few years later than in its main European counterparts, mainly as a result of the problems of succession to the thone of the Austrian empire, with Maria Theresa's lengthy reign. Initially, Neoclassicism in Milan, like the artists who practiced it, was not so much inspired by the classical models of Ancient Rome or Roman Neoclassicism as by developments in London, Paris and Parma. It was a period of great public works covering theatres, libraries and schools, and more generally of important works for the public good, reflecting the ambitions of an enlightened government. It was a period in which the State and the government itself led the city's cultural life and progress, promoting and funding new activities and rewarding the most deserving citizens and achievements. During this initial period, Neoclassicism was characterized by a more sober and austere approach, resulting in symmetrical, well-ordered structures.
  The Napoleonic period, while demonstrating some continuity in reinitiating work suspended under the Austrian government, was also characterized by a more monumental and celebratory style, striving to promote Milan as one of the great European capitals with Eclectic and Romantic architectural features. In particular, outstanding new roads and city gates were completed. There were plans for a considerable number of projects designed to enhance the appearance of the city and to celebrate the victories of Bonaparte. However, as a result of the short period of French rule and the over ambitious nature of some of the works, they were largely set aside.
  With the Restoration and the return of the Austrians, there was something of a revival of the previous Neoclassical style, although the progressive approach of enlightened governments was now coming to an end. During this period, sculpture and painting took on a primary role,  promoted by annual festivals and competitions. The State had a less secular approach than in the two previous periods, initiating work on the restoration and renewal of churches, especially their interiors. After the early years of the Restoration, pure Neoclassicism became more a style of the past. The work of many artists began to reveal trends towards the Romantic art which would follow a few years later. By the late 1830s, it could clearly be seen that the era of Milanese Neoclassicism had now come to an end.
caption: Maria Teresa, initiator of Milan's era of Enlightenment and Neoclassicism
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