Santa Maria presso San Satiro, right transept
The Church of Santa Maria presso San Satiro is one of the best-known and noteworthy Renaissance churches in Milan. The entrance to this interesting edifice is set back from Via Torino and almost hidden nowadays by more modern buildings. It stands a short distance on the right after turning from Piazza Duomo. The church is the work of the architect Donato Bramante and famous for Bramante's ingenious trompe-l'oeil presbytery which is perfectly convincing from the nave. Much of the original, historic design has been suffocated by nineteenth-century reconstruction work.The relatively recent façade of this complex building only dates from 1871, while the older parts of the building overlook via Speronari and via Falcone. In point of fact the 11th century bell tower is the oldest still existing in Milan and the important "Cappella della Pietà" (or Basilica of Ansperto) has a 15th century external casing, while on the inside the 11th century Carolingian structure can still be admired.
The ancient votive chapel dedicated to San Satiro was built before the year '879 according to the desire of Archbishop Ansperto da Biassono on land belonging to his family. It could almost be considered a household chapel. In his will, dated the
10th September of the year 879, Archbishop Ansperto disposed that the chapel that he had dedicated to both the saintly brothers Satiro and Ambrogio (339-397) and St. Silvestro (314-335), together with his other property should become a charitable institution to be run by eight monks selected by the Abbot of the basilica of St. Ambrogio creating a "celI". The church of Santa Maria was erected next to the original chapel.
The religious and charitable activities of the small community and the "Basilichetta" continued according to routine until the 25th March 1242 when, according to tradition, the child Jesus in his Mother' s arms represented in a fresco on an external wall of Ansperto' s chapel was "stabbed" by a hostile young man and blood immediately spurted miraculously from the portrayal of the Holy Child on the wall. It was the first of many miracles and led to a continuous and ever more numerous influx of pilgrims. The unceasing flow of pilgrims expressed their gratitude to the Madonna with various kinds of donations, which were sometimes very conspicuous, necessitating an honest and wise administration. A Confraternity took over this responsibility in the fifteenth century and it was due to them that in about 1470 the building of the Church of Santa Maria was begun. The 13th-century fresco on the façade said to have prodigious powers was salvaged and set above the high altar.
The planimetry of the Church was conditioned by the existing environment and a series of physical restraints. As well as the need to incorporate the Cappella della Pietà dating from the original foundation, which together with the thousand-year old bell tower was the only remaining part of the previous building still in existence, into the new structure Bramante had to solve the arduous problem of lack of space represented by the barrier of Via Falcone adhering to the transept. The flat wall of the presbytery prevented the construction of an apse. This impediment inspired the brilliant architect to create an unforeseen masterpiece. Bramante conceived the stratagem of an illusory apse by means of a false perspective giving a trompe l 'oei! effect of greater imaginary depth and dimensions perfectly convincing from the nave. It is only possible to realize that the depth of the presbytery is less than a metre observing at a very short distance from the altar.
As there was so little space available, Bramante created a false perspective simulating large proportions giving the illusion of a transept with a nave and two side aisles by means of the circular barrel vault and the complex form of a lacunar cupola and false presbytery: a delicate frescoed structure in stucco work simulating a choir of notable depth. The miraculous 13th century votive fresco is still visible near the high altar. The dagger used by Massazio to stab the Baby Jesus can be seen as well.
Bramante also designed the sublime octagonal baptistery comprising two orders of pilasters and a dome now decorated with a 19th century terracotta frieze by Agostino de' Fondulis.
The left transept gives on to Ansperto's "Cappella della Pietà" restored in the 15th century. Designed on a Greek-cross plan with a small octagonal dome in the middle, supported by four columns, and decorated with a group of 14 figures in coloured terracotta.
