Visit Palazzo Marino

Palazzo Marino offers a free guided tour service by qualified municipal staff who accompanies visitors on a journey of art and history in the institutional headquarters of the Municipality of Milan.

Il Palazzo

Seat of the municipal administration since 1861, Palazzo Marino it was founded in 1558 based on a design by the Perugian architect Galeazzo Alessi.

The building owes its name to the client, Tommaso Marino, a rich Genoese merchant who had made his fortune in Milan and who had it built to make it his own prestigious home. 
The palace remained unfinished following Alessi's abandonment of the work in 1570 and was only completed at the end of the XNUMXth century by the architect Luca Beltrami.


It is the room located at the entrance to the Palace. A trompe-l'oeil paper simulates the ancient leathers of Cordoba, with faux marble bases.

Inside there are four large seventeenth-century canvases from Villa Litta Modignani with scenes from the life of Saints Peter and Paul, the work of an unknown painter, perhaps Roman.

Inside there are three ancient tapestries depicting stories from the life of Marcus Aurelius.
In a fourth tapestry, of a mythological nature, the heroes Perseus and Bellerophon appear fighting against wild beasts. These are prestigious tapestries woven in workshops in Antwerp and Brussels between the 15th and 16th centuries.

This room, which originally must have been the ancient oratory, has some torn frescoes on the walls from the church of San Vito in Pasquirolo in Milan, attributed to the work of Giovan Mauro della Rovere, known as Fiamminghino.

In a fresco detached from the church of San Vincenzino, the work of Giovanni da Lomazzo, San Vincenzo is depicted in a deacon's dress with the iconographic attribute, the Millstone wheel, which recalls his martyrdom. 

Here too we find frescoes from the church of San Vincenzino, again attributed to Giovanni da Lomazzo.
In particular we can admire a fresco in which Saint Lawrence is depicted with the grill, his iconographic attribute, and a series dedicated to the life of Christ: the Ascent to Calvary, the Deposition in the Sepulchre, the Descent into Limbo.

Inside a fake architectural frame there are a Noli me tangere and an Adoration of the Child, the latter probably even older and which could refer to the Bergognone area.

This room constitutes the Hall of Honor and takes its name from the architect Galeazzo Alessi who designed the entire palace.
In the room, under the cornice, there are twelve frescoes with the Nine Muses and the gods Apollo, Bacchus and Mercury.

Two large busts placed above the portals represent Mars and Minerva and some earthenware bas-reliefs tell mythological stories.

The large vault, with its decorations, is not the original one having been rebuilt after the war bombings of 1943.

In the Urban Planning Hall we find copies of nineteenth-century prints affixed to the walls in which some of the most important and significant places of the city are depicted.

Above the portals there are ovals with the portraits of four great architects who created important buildings in the city: Alessi, Piermarini, Richino and Pellegrino.

The room takes its name from the color of the damask that covers its walls.
The furnishings are of great effect: in addition to four period portraits, there is a monumental nineteenth-century neo-baroque mirror in carved and gilded wood above a console with a marble top and baroque structure; a large Bohemian crystal chandelier and an 18th century French clock.

The room is named after a former president of the city council who died prematurely at the age of 43, Giovanni Marra.

The important furnishings make these spaces prestigious, which are the most famous room of Palazzo Marino for being the birthplace of Marianna de Leyva, better known as the Nun of Monza.

The space is divided into three areas: hemicycle, press gallery and public gallery. Board meetings are held in this room.

On one wall stands a large painting with Sant'Ambrogio on horseback, created in 1591 by the mannerist painter Ambrogio Figino.

Not destroyed by the bombings of the Second World War, it largely appears as it must have looked in the sixteenth century. It is arranged on two levels and features a rich decoration typical of the mannerist style, with bas-reliefs depicting the twelve labors of Hercules from mythology and "The Metamorphoses" told by Ovid.

After walking along the grand staircase, created by Luca Beltrami, you reach the first floor where inside a niche there is the bust of Count Antonio Beretta, the first mayor of the city. 
In the large loggia there are the busts of all the other deceased former mayors that Milan has had in its history.

Through the loggia you enter the last room of the visit itinerary: the Clock Room. It is an elegant representative environment in which Renaissance style furnishings have been placed together with fourteen original seventeenth-century canvases, the work of important painters of the time.

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Updated: 16/10/2023