Basilica of San Lorenzo, Milan

The Colonne di San Lorenzo or Columns of San Lorenzo is a group of ancient Roman ruins, located in front of the Basilica of San Lorenzo in central Milan, region of Lombardy, northern Italy.

The ancient Porta Ticinese is one of the three medieval gates of the city that still exist in modern Milan, together with the medieval Porta Nuova in Manzoni street and the Pusterla di Sant'Ambrogio. Originally built in the twelfth century, the structure of Porta Ticinese was restored in 1861 by Camillo Boito, who inserted two lateral arches next to the only original access. The medieval Porta Ticinese is sited near the Basilica of Saint Lawrence and the homonymous Saint Lawrence columns. Among the city's population it was commonly referred to as "Porta Cicca" or "porta Snesa". The first is the adaptation of the Spanish word "chica", meaning little girl, since the gate was the only one having just one access, whereas the latter is a dialectical form of its name. There is another gate also called "Porta Ticinese" in the same district of Milan. This other gate is more recent, having been originally built in the 16th century and then replaced in the 19th century.

The Wall of Dolls o Muro delle bambole is an informal and changing art installation and memorial located, dedicated to remembering female victims of violence and murder, located on 2 Via Edmondo de Amicis just west of the Medieval Porta Ticinese in central Milan, region of Lombardy, Italy. The monument, installed in 2014, consists of many, diverse dolls, many with the names of victims, hung on a metal wire grid support on a wall facing the busy Via Amicis. The idea was first proposed in 2013 by the singer and song-writer Jo Squillo, and supported by Giusy Versace and Francesca Carollo. The project attracted support from diverse organizations, artists, and students involved in tailor work for the School of San Giusto.The public is able to add their own dolls to the installation. In July a fire of unknown origin damaged the center of the exhibit. Similar projects have been proposed elsewhere, including Verona and Venice, the latter inaugurated by Donatella Versace in the Spring of 2019.

San Giorgio al Palazzo is a baroque-style, Roman Catholic church in central Milan, region of Lombardy, Italy.

The Milan amphitheatre was a Roman amphitheatre in the ancient city of Mediolanum, the modern Milan in northern Italy.

The Diocesan Museum of Milan (Museo Diocesano di Milano in Italian) is an art museum in Milan housing a permanent collection of sacred artworks, especially from Milan and Lombardy. Originally conceived by Ildefonso Schuster in 1931 as a vehicle to protect and promote the art collection of the Archdiocese of Milan, the museum was eventually established in the former headquarters of the Dominican Order in the back of the Basilica of Sant'Eustorgio with the support of Pope Paul VI. In 2001 Carlo Maria Martini inaugurated the current venue located in Porta Ticinese.

Conca del Naviglio is a district ("quartiere") of Milan, Italy, part of the Zone 1 of Milan. It preserves the remains of the basin and some remains of the Milan amphitheatre. The urban fabric originated around the creation of the Conca di Viarenna in the 15th century.

The Palazzo di Prospero Visconti' is a 16th-century palace in Milan. Historically belonging to the sestiere di Porta Ticinese, it is located in via Lanzone 2, in the ancient contrada del Torchio no. 2,919.

Casa Venegoni is a historic building situated in Milan, Italy.

San Bernardino alle Monache is a Renaissance style church on Via Lanzone 13 in central Milan, Italy. This was originally a chapel within the nunnery of St Bernard. The monastery no longer exists. It was built around 1447 to designs by Pietro Antonio Solari. The interior contains frescoes from the 15th century and before. Some are attributed to Vincenzo Foppa. The church was restored in the last century.

The Portinari Chapel (Italian: Cappella Portinari) is a Renaissance chapel at the Basilica of Sant'Eustorgio, Milan, northern Italy. Commenced in 1460 and completed in 1468, it was commissioned by Pigello Portinari as a private sepulchre and to house a silver shrine given by Archbishop Giovanni Visconti in 1340 containing the relic head of St. Peter of Verona, to whom the chapel is consecrated. The architect is unknown, the traditional attribution to Michelozzo having been succeeded with equal uncertainty by attributions to either Filarete or Guiniforte Solari, architect of the apses of the Certosa di Pavia and the church of San Pietro in Gessate in Milan.

The Basilica of Sant'Eustorgio is a church in Milan in northern Italy, which is in the Basilicas Park city park. It was for many years an important stop for pilgrims on their journey to Rome or to the Holy Land, because it was said to contain the tomb of the Three Magi or Three Kings. Probably founded in the 4th century, its name refers to Eustorgius I, the bishop of Milan to whom is attributed the translation of the supposed relics of the Magi to the city from Constantinople in 344. In 1764, when an ancient pillar was removed, a Christian burial was discovered, housing coins of emperor Constans, the son of Constantine the Great.The church was later rebuilt in Romanesque style. In the 12th century, when Milan was sacked by Frederick Barbarossa, the relics of the Magi were appropriated and subsequently taken to Cologne. It was only in 1903/4 that fragments of the bones and garments were sent back to Sant'Eustorgio's. Nowadays they are in the Three Kings altar nearby the empty Three Kings sarcophagus. Still today, in memory of the Three Kings, the bell tower is surmounted by a star instead of the traditional cross. From the 13th century the church was the main Milanese seat of the Dominican Order, who promoted its rebuilding. The current façade is a 19th-century reconstruction. The interior has a nave and two aisles, covered with groin vaults. Of the Romanesque church only parts of the apse remain, while of the original Early Christian building, remains have been excavated also under the apse. To the right side of the nave, the church has chapels commissioned from the 14th century onwards by the main families of the city. The first from the entrance is of the 15th century and has a Renaissance sepulchre and a triptych by Ambrogio Bergognone. The three others are more ancient, having frescoes of the Giotto school and tombs of members of the Visconti family. The high altar is an imposing marble polyptych of the early 15th century, while a similar work is in the right transept, next to the Early Christian sarcophagus of the Magi. Also noteworthy are a Crucifixion on a table by a Venetian artist of the 13th century and St. Ambrose Defeating Arius by Ambrogio Figino of the late 16th century. Behind the apse is the most striking feature of the church, the Portinari Chapel (1462–1468), one of the most celebrated examples of Renaissance art in Lombardy. It has frescoes by Vincenzo Foppa and a marble sepulchre by Giovanni di Balduccio, a 14th-century pupil of Giovanni Pisano. The chapel also houses an important Dominican monument, the Ark (tomb) of Saint Peter of Verona, which is replete with marble bass-relief images by the sculptor, Giovanni di Balduccio.