Here is the most bastard secret of the city: in Milan there are masterpieces, but little is known about them. A few years ago, “La dama con l’ermellino” was a clever trick to awaken the sleep of the Milanese. Brera, that is the Pinacoteca, is/was an extraordinary virtuous circle: the students of the Academy below and the great art on the main floor. Great, indeed, extremely great art: Caravaggio, the Leonardesque, Van Dyck, Rembrandt, the visionary Bramantino, the Dead Christ of Mantenga, the two masterpieces by Piero della Francesca. This is an almost unique overview of the classics from pre-Giotto art to the 20th century. Without concessions. In the history of the Pinacoteca there are two city dominations: Austrian first, and then French. It goes without saying how much sensitivity, taste and respect have been the children of the culture. Milan has been living for many, perhaps too many years now, another domination. More underhand. Because silent and invisible. And it doesn’t speak another language at all. Let’s go and above all go back to the Pinacoteca di Brera. After all, the risks of the “sleep of mind” are well known.

Translated by @silaskin