One of the most striking features of the Duomo of Milan is the monumental tabernacle and its associated covering. Despite the very large proportions of this particular cathedral, which presents the worshipper and visitor with a variety of styles spanning the centuries, this is by far that which the eye is most drawn to. This should likely come as little surprise since it came out of the counter-reformation era, a time when emphasis on the doctrine of the Real Presence of Christ in the Eucharist was particularly emphasized, particularly in the light of the doubts of the protestant reformers to the same.
This particular structure it should be noted, is today not seen in its original configuration. It has actually been turned around -- reversed if you will -- following changes made to the sanctuary in the latter half of the twentieth century. The original altar that was associated with this tabernacle was sadly removed, as was the suspended canopy that hung over the altar -- which raises the important point that this covering is not a "ciborium" or altar canopy; it was and is a canopy for the tabernacle itself. At the end of this article we will show you what the original altar and tabernacle configuration was, but our focus today is simply the design of canopy and tabernacle itself.
The canopy in question was designed by the sixteenth century Italian mannerist artist and architect, Pellegrino Tibaldi (+1596), Tibaldi's design was shaped in the form of a small temple of eight bronze columns which covered by a cupola. The work itself was executed by Giovanni Andrea Pellizzione with Francesco Brambilla producing the four angels that support the tabernacle proper. This was a gift from Pope Pius IV to St. Charles Borromeo, Archbishop of Milan and also the pontiff's nephew.
Some of the original sketches made by Tibaldi for his design are fortunately still available to us, accessible in the collections of the Galleria dell'Accademia in Venice:
While this shows the basic components of the construction, the completed work is far more ornate, being covered with all sorts of ornamentation and figurative depictions.
The top of the canopy/cupola is crowned by an image of Christ Resurrected, while the base of the cupola has eight angels encircling it. Found along the cupola itself are various depictions, but sadly these are difficult to make out, but they appear to show primary images of Christ in Glory with angels beneath.
Beneath this canopy we find the eight gilt Corinthian columns that surround the tabernacle proper.
(It is worth noting that the small, cubicle style tabernacle seen her at the centre-bottom of the photo is unrelated to this work. It is clearly an unrelated tabernacle dating to the 1970's or 80's).
A better look at the tabernacle proper shows that it is topped by another image of Christ Resurrected and what is likely the figures of the twelve apostles encircling Him. Found near the base of the tabernacle is a depiction of the Last Supper. One can also just make out two of the four supporting angels.
Even the steps, originally on the apsidal side, are ornamented. This also provide a good view of the two angelic figures found to either side which are designed to hold lampada or candles. One can also make out part of the gradine upon which they (and, originally, the altar candlesticks and cross) stand.
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| Detail of one of the angels. |
As promised, to help readers better understand the original altar and tabernacle configuration, we'd like to share some photos that show the altar prior to the modifications of the later twentieth century. Here you can see how this tabernacle was originally positioned in relation to the high altar. One can also see the suspended canopy that hung over the high altar itself.
This particular sort of altar and tabernacle arrangement is frequently referred to as the "exposition throne" style and, as seen in this form here, is style that a very typical of the north of Italy.
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