The Chapel

I Giardini Di Villa Melzi d'Eril

The Spiritual Heart of the Gardens

CHAPEL-ORATORY WITH MONUMENTS

At the southern end of the garden, overlooking the square and small port of Loppia, stands the Chapel-Oratory, an integral part of the Melzi d’Eril estate. This structure reflects the tradition of aristocratic families dedicating a space in their gardens to both religious worship and burial, allowing those who stayed in vacation residences to establish their final resting place there as well.
The building, completed in 1818 by architect Albertolli under the direction of heir Giovanni Francesco, follows the precise instructions left by Duke Francesco Melzi d’Eril, who had passed away two years earlier. In line with the villa’s neoclassical style, the Chapel-Oratory is distinguished by its simplicity and geometric clarity, presenting itself as a compact square-shaped structure located at the border between the interior and exterior of the garden.
On the entrance façade, a Doric portico made of gray Saltrio stone creates an elegant chromatic and material contrast with the white plastered walls. At the center of the building rises a hemispherical dome on a drum, crowned by a lantern that enhances its verticality.

THE INTERIOR OF THE CHAPEL

The chapel is accessed from the western side. The interior space, designed as a Greek cross, develops harmoniously under the light entering through the drum, lantern, and two large thermal windows. Decorative elements by Albertolli, such as moldings, friezes, and cornices, enrich the architecture.
Particularly noteworthy are the ceiling adorned with “three-dimensional” stucco rosettes framed by octagonal and four-pointed star shapes, and the marble mosaic floor echoing these geometric motifs.

PAINTED WORKS

The monochrome frescoes were created by painter Angelo Monticelli (1817–1818) based on designs provided by Giuseppe Bossi, a prominent Lombard neoclassical artist. These include:

The figure of the “Eternal Father” above the altar.
The “Four Evangelists” in the pendentives.

Two of Bossi’s cartoons further enhance the interior:

Madonna with Child, St. Bernard, and a Saint, in the lunette opposite the altar.
The Pietà, in the side niche housing the burials of the Gallarati Scotti family, the villa’s current owners.

SCULPTURAL ELEMENTS

Sculptures dominate the chapel, highlighting its dual function as a place of worship and a funerary space.

Altar: Made of Carrara marble by Giovanni Battista Comolli, it includes a sculpted frontal featuring figures of the Madonna, St. Joseph, Baby Jesus, St. Elizabeth, and St. John the Baptist. Above the altar, the statue of Christ the Redeemer (1812) depicts a vigorous young figure inspired by classical statuary.
Eucharistic Tabernacle: A gilt bronze door featuring the “Redeemer in Glory” and the “Triumph of the Church,” created by Luigi Manfredini.

FUNERARY MONUMENTS

The chapel houses several commemorative monuments:

Duke Francesco Melzi d’Eril (1830): Crafted by Vittorio Nesti, it portrays Italy in contemplation beside a lion guarding the tomb.
Giovanni Francesco Melzi d’Eril (1854): Work by artist Giovanni Maria Benzoni, featuring a funerary stele with the portrait of the deceased at the center of a procession of mourners, including some family members.
Duke Lodovico Melzi d’Eril (1886): Created by Vincenzo Vela, it depicts the duke on his deathbed, with a golden mosaic by Salviati of Venice in the background.
Carlino Melzi d’Eril: A bas-relief by Gerolamo Oldofredi Tadini depicting the young count, who died prematurely, surrounded by family members and beneficiaries.

These masterpieces testify to the connection between neoclassical art and the commemorative traditions of the time, granting the chapel a prominent role in the historical and artistic context of the villa.