Grand Staircase

The “Southwest Grand Staircase,” featuring a wrought iron banister, connects the southern end of the portico to several rooms on the *piano nobile* (main floor). The fresco wall decoration, arranged on multiple levels, features an exceptionally rich array of noble coats of arms. It serves as a fascinating record of Lombard heraldry, highlighting the prominence attained by numerous noble families connected with Cesano. Far from being mere decorative elements or pointless displays of family power, these coats of arms offer insight into 17th-18th century society and its various forms of governance. More specifically, they attest to the great fame and wealth achieved by the palace owners through astute policies of marital alliances and strategic economic-political friendships.

The northern wall displays the coats of arms of the Archinto, Arese, Visconti, Omodei, Odescalchi, and Borromeo families. The eastern wall, in turn, features the arms of the Legnani, Cusani, Opizzoni, Gallarati, Melzi, Marliani, D’Adda, Corio, Pettenari, and Scanzia families.

The adjacent southern wall includes, among others, the coats of arms of the Arconati and Ghisolfi families, alongside the emblem of the King of Spain and Duke of Milan. Finally, the western wall displays the arms of the Castiglioni, Panigarola, Natta, Caravaggio, Cavenago, Simonetta, Pirovano, Tornielli, Lampugnani, Lurani, Porro, Scotti, Tolentino, Monti, Visconti Borromeo, Grillo, Caccia, and Odescalchi families. Notable among these are the Omodei and Borromeo coats of arms, distinguished by cardinal’s hats, and the Odescalchi arms, topped with a papal tiara, bearing witness to the high ecclesiastical positions held by relatives of the Arese family. Indeed, Bartolomeo III Arese married Lucrezia Omodei, sister of Cardinal Luigi Omodei. This union produced a son, Giulio, and two daughters, Margherita and Giulia, who later married into the Visconti and Borromeo families, respectively. Also noteworthy is the Cusani emblem – featuring five gold and four green charges, topped by an ancient gold crown – painted to commemorate the marriage of Elisabetta Cusani to Giberto V Borromeo Arese, the last of Bartolomeo’s descendants to commission work within the palace.

On the southern side, there is also a monochrome depiction of an “Allegory of Astronomy,” symbolizing the proximity to the “Observatory” area. It is framed within a painted architectural window, from which a peasant figure leans out, holding a two-pronged pitchfork and wearing a simple cap. This figure introduces a motif well-represented throughout the palace: the inclusion of so-called “human types” (realistic figures) within solemn family narratives. This technique links depictions of the Arese family’s glory with everyday life, a certain taste for irony, and the potential of painterly illusionism. The peasant, therefore, might represent the master of the house himself, welcoming those ascending the stairs. He displays a pitchfork used for managing animals, featuring two tines attached to a socket with a comb-like element, into which the wooden handle fits. Thus, even while appearing in peasant attire, he subtly asserts his authority and governing power, demanding obedience from all.

Beyond the heraldic symbolism, numerous other iconographic elements are concealed within the frescoes of this staircase. Among the most original is a chained monkey painted on the western wall. This figure represents less the victory of family renown over Evil, and more the possibility for those who succumb to unrestrained impulses and sin to be educated and redeemed through adherence to family tradition. In 16th-17th century painting, the monkey often shed its traditional association with Evil, instead becoming an image of humanity fallen into a state of deep moral decay, thus requiring salvation. While in Albrecht Dürer’s “Madonna of the Monkey,” this redemptive task falls to the Virgin Mary, here in Cesano, that role is assumed by the Lombard nobility and patriciate. They present themselves as an edifying society, capable of discerning Good from Evil and correcting those who indulge in excess.

Furthermore, two painted dates appear on the staircase – 1659 above the lower entrance and 1663 above the door of the “Antechamber leading into the south wing staircase.” These likely serve as symbolic chronological markers for the construction of the entire building, spanning a five-year period.