Sforza Castle Tickets

Leonardo da Vinci, who was sent to Milan by Ludovico il Moro in 1482, is only one example of the many architects and designers who have worked on and been fascinated by the castle and its defensive architecture over the years. Francesco Sforza began building ravelins (defensive walls constructed in front of the gates) during his castle's renovation, maybe making use of the Visconti era ruins as building materials. This outer wall, known as the "Ghirlanda" or "Garland," ran from the ravelin of Santo Spirito in the south-west to the ravelin of Santa Maria del Carmine in the north-east, protecting the northern flank of the castle of Porta Giovia. The outside walls of the moat had a covered road and branching pathways that allowed soldiers to walk freely between the castle and the Ghirlanda. Two moats were present in the castle, one of which, today known as the "dead moat," separated the Courtyard of Arms from the Rocchetta, and Ducal Courtyard.

The tower has become an icon of Milan due to its distinctive and easily recognisable design by architect Antonio Averulino, popularly known as il Filarete. The Bona Tower, situated at the crossroads of the north-east and south-east wings, served as the nerve center for the entire structure. As evidenced by a door with a spy-hole that is still present in the tower's stairwell, the tower served as a prison in addition to its defensive purpose. Francesco Sforza commissioned architect Bartolomeo Gadio to erect two round towers out of rusticated serizzo in 1452 to fortify the city side of the fortress. The Rocchetta's treasure chamber, also known as the Sforza era room, is located on the ground level of the square Castellana tower in the building's northeastern corner. There were battlements and pathways all around the castle when the Sforzas ruled, but they were devastated throughout the centuries of foreign rule (16th - 19th centuries).

Stepping out of the Filarete Tower, you'll find yourself in the massive Courtyard of Arms, which architect Luca Beltrami meticulously rebuilt. One of the oldest structures in the Courtyard of Arms was converted into a hospital for the garrison troops by order of the castle commander, Sancho de Guevara y Padilla, during the Spanish rule. The ducal residence begins at the Portico of the Elephant, which was built in 1473 and received its name from a fresco that may be seen even now. Bona di Savoia, who had the high tower built, took sanctuary in its inner fortification for a time before Ludovico il Moro came to power. Adding three portico wings helped soften the otherwise fortress-like aspect of the building's façade (thanks to its high walls and lack of windows).

The Museum of Ancient Art is located in what were previously the Milanese mansion of Galeazzo Maria Sforza and Bona di Savoia (from 1468), the ducal chambers, which are on the ground level next to the Ducal Courtyard. Galeazzo Maria did not commission the famous Sala delle Asse chamber VIII of the Museum of Ancient Art, which is located on the first floor of the Falconiera Tower. Instead, Galeazzo Maria's brother Ludovico did, and he entrusted Leonardo da Vinci's creativity with the room's decorating. The vault of room XI, known as the Room of Ducal Heraldry, features the coats of arms of Galeazzo Maria Sforza against a blue background. Galeazzo Maria Sforza had a deep personal investment in the Ducal Chapel (room XII), which was designed by Bartolomeo Gadio, and Benedetto Ferrini and constructed and frescoed by a team of artists. The heroic deeds of the dove are depicted in Room of Doves (room XIII), where a bright sun and the slogan "à bon droit" (French for "well deserved") can also be seen in the background. Because of the many renovations done in the 1800s, the Room of the Echelons (room XV) retains its original name and decor of red and white zig-zag stripes. The Sforzas knew that the Rocchetta's stronghold was the only place to truly keep the riches safe.This once-priceless chamber now serves as home to the Trivulziana Library and rotating exhibits. Bramante is credited for designing chambers IX and X at Ponticella, which house the Museum of Ancient Art. The moat is spanned by a light, airy bridge with a portico and three chambers.

Many attempts were made over the years by Milanese to attack and destroy the castle since it was seen as a symbol of oppression and foreign dominance in the city. Galeazzo Visconti II, after becoming Lord of western Milan, constructed a fort between 1360 and 1370 that straddled the medieval wall and enclosed the postern of Porta Giovia or Zobia. Soon after coming to power, Francesco Sforza began expanding Visconti Castle. He knew the Milanese would be hostile to the rebuilding, so he made security and aesthetic concerns his primary justifications. Galeazzo Maria was murdered in the midst of a plot in December 1476 but Bona di Savoia, his widow, took on the role of regent for her son, the infant Duke Gian Galeazzo Maria. She and her son took refuge in the tower she had built to rule the entire castle, and which still bears her name today. However, her reign was short-lived, as Galeazzo Maria's brother Ludovico Maria, also known as il Moro, quickly seized power and banished Bona into exile. Il Moro, a patron of the arts, made Milan's court into one of the most sophisticated of its era, supporting artists like Leonardo da Vinci and Donato Bramante.

In 1549, Don Ferrante Gonzaga, Captain General and Emperor's lieutenant, began extensive work on the walls of Milan and the Castle in the shape of a twelve-pointed star or bastion fortress, which was state-of-the-art in terms of military architecture. The former Sforza family home was converted into a massive garrison that included, as depicted in period paintings and written accounts, a pharmacy, a hospital, stores, a bakery, two bread ovens, a bar, an ice house - for conserving ice, two churches, and large warehouses. People in Milan contributed to the cost of building and maintaining the garrison. On the side of the Holy Roman Emperor Joseph I during the Spanish Succession War in 1706, Eugenio of Savoy took Milan. The castle's interiors from the Sforza era remained in disrepair and were severely damaged, including the decay of the frescoes, ceilings, and stucco decorations, despite the change in nationality of its inhabitants.

As Napoleon Bonaparte approached Milan, Archduke Ferdinand I of Austria fled the city. On May 9, 1796, he reportedly left the castle in the care of 2,000 guards with 152 cannons, 300,000 kilos of gunpowder, 11,000 firearms, and 100 livestock. An assault on the despised castle, which supporter groups of republican France considered as their Bastille, was repelled by General Lamy and his garrison. After the star fort was demolished in 1801, the area around the castle became vastly unoccupied, inspiring ideas for its repurposing from architects like Luigi Canonica and Giovanni Antolini. To create what is now known as Foro Bonaparte, the latter envisioned a massive semicircular square bordered by public buildings designed in the classical style. After Napoleon's defeat, the Kingdom of Lombardy-Venetia was established in 1815, and the Austrians returned to Milan. The castle remained in use as barracks, and military parades were held in the Piazza d'Armi, the empty plaza just behind the structure.

After much debate—during which Angelo Colla's plan to convert the castle into a Gothic-style building gained traction—it was ultimately decided to keep the structure as-is. The castle, which had been turned into a military barracks over the course of several centuries, underwent a lengthy and intricate repair and renovation project beginning in 1893. The demolition of the Ghirlanda began in 1892, directed by Luca Beltrami, and was followed by the Cavallerizza, a building from the 19th century. The Bona Tower was restored to its appearance from the early 16th century, the Carmine and Santo Spirito gates were opened once more, and the twin towers that had been removed following the Five Days of Milan were erected once again. With the help of a painting by Francesco Napoletano, architect Luca Beltrami was able to recreate the building's city-facing façade, including the iconic Filarete tower.