page_title: Neoclassical architecture in Milan
section_title: Overview
hierarchical_section_title: Neoclassical architecture in Milan / Overview
caption_attribution_description: Italiano: Cesare Beccaria. Dettaglio dalla serie di medaglioni decorativi di "Italiani illustri" sulla facciata di Palazzo Brentani, in via Manzoni a Milano (1829-30). Oggi è sede di uffici di una banca. Foto di Giovanni Dall'Orto, 14-4-2007. English: Cesare Beccaria. Detail from the series of decorative busts (portraying "distinguished Italians") on the facade Palazzo Brentani, in via Manzoni street at Milan(1829/30). Picture by Giovanni Dall'Orto, April 14 2007.
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 Treaty of Rastatt in 1714, formalized the transfer of Milan from Spanish to Austrian rule. During the reign of Maria Theresa (1740–1780) and Joseph II (1765–1790), the city led a cultural and economic renaissance. The empress and her son, strongly influenced by the ideals of Enlightenment, played a significant role in the movement of reform. Thanks to its enlightened government and reforms, Milan was open to developments from Europe, quickly becoming a lively intellectual centre.  As a result, influential proponents of the new styles such as Pietro and Alessandro Verri and Cesare Beccaria arose. It was also the seat of the forward-looking newspaper Il Caffè and of the Accademia dei Pugni. The reforms covered important areas of interest to the public, especially the modern system of land registry, one of the most efficient in Europe. Between 1765 and 1785, Joseph II reduced the powers of the religious orders. The inquisition was abolished, meetings of religious orders including those of the Jesuits were forbidden and their assets were transferred to the city where they were used for unprecedented urban renewal programmes.  Coordinated by the court architect Giuseppe Piermarini, Neoclassicism became the style of the city's rebirth. The first public parks were opened while elegant mansions inspired by the new trend were built in carefully selected areas. Some of Milan's most famous institutions such as the Teatro alla Scala, the Brera cultural centre and the reformed Palatine Schools were created during this period.
  In 1796, with Napoleon's arrival in Italy, Archduke Ferdinand of Austria left the city which from 1800 came into the hands of the French. French domination did not deter Milan's cultural activities. The rapidly growing population included some of the greatest Italian intellectuals from Melchiorre Gioia to Vincenzo Monti, and Alessandro Volta to Ugo Foscolo and Silvio Pellico. The Lombard Institute of Science and Letters was founded and several newspapers were established in the city. For the capital of the Kingdom of Italy as it now became, numerous urban projects were prepared with a view to giving Milan the look of one of Europe's main capitals although they were never completed. For some time the inhabitants had drawn up petitions for dismantling the Sforza Castle and by his decree of 23 June 1800, Napoleon ordered its demolition. This was indeed begun in 1801 but was never completed. The same year the architect Giovanni Antonio Antolini was charged with designing a "Foro Bonaparte" (Bonapart Forum) but instead he suggested remodeling the castle in the Neoclassical style. As a result of its high costs, the project was however shelved. By decree in 1807, Milan and Venice were endowed with a "Commissione di Ornato" (Embellishment Committee) with vast powers and a wide sphere of activity. It was made up of the most prominent figures in Milan. The first item to be discussed was a master plan which was drafted the same year. Until 1814, the city's development was governed by the plan which "can be considered one of the most modern plans created in Europe.".
  With the return of the Austrians in 1815, the city completed its cultural and economic success. Commercial and financial activities made Milan Italy's main business centre. Furthermore, thanks to the completion of many irrigation projects coordinated by the government, Milanese agriculture was among the most modern and best developed in Europe. At the same time, the city became the largest publishing and cultural centre of Italy with the involvement of figures including Carlo Cattaneo, Cesare Cantù and Carlo Tenca. Milan developed Neoclassical works in both the private and public domains: firstly as a result of the strong link between the Enlightenment and Neoclassical art, especially publicly funded architecture, and secondly the role that architecture played in celebrating the Neoclassical revolution and Napoleon's exploits. They inevitably came to an end with the Restoration. Neoclassicism began a slow decline, passing through periods of Romanticism and 
caption: Neoclassical medallion of Cesare Beccaria at the Palazzo Brentani
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