Ambrose's figure has always attracted and influenced the Milanese and all those who came to know what he did: his great charisma and his commitment that he profused in defending his Church made him an "evergreen"
character. This is the explanation for the interest he has always been given over the centuries; a proof of this is the large artistic production dedicated to the Saint. It was in the late fifteenth century, when San Carlo Borromeo was Bishop, that Ambrose's figure was most popular. In the difficult times of the Spanish rule and the plague, when the congregations needed more cohesion and moral strength, Borromeo found in the Ambrosian veneration a powerful ally. Ambrogio was a pillar of Catholicism, he was a legendary and fascinating character; his memory was still alive in the hearts of the Milanese, but expecially when he was alive he distinguished himself for his valiant defence of the community. The best example of this commemorative effort are the 71 wood slabs (1567-1614) commissioned by Borromeo himself, that adorn the choir of the Duomo of Milan. They are still one of the most influential sources for the
Saint's biography, since they go over his whole life. If we want to give the most possible exhaustive outline of the Ambrosian iconography, we cannot restrict our studies to a single period; we need to get over the temporal boundaries of any specific century and over the spatial limits of Milan.Soon after the Saint's death his iconografy knew a quick and development, that give us an effective help in the reconstruction of his phisical, moral and historical image of Ambrose. The first evidence is the ancient mosaic that adorn the Chapel of San Vittore in Ciel d'Oro in the Basilica of St. Ambrose in Milan. Furthermore here we can find the some cycles about Ambrose's life, reconstructed whit the witnessing of Paulinus from Milan. Since the XIth century paintings and icons portray the Bishop whit the mitre, the pastoral and a whip, symbol of resoluteess and strictness against heresy. Then after the battle of Parabiago in 1339 - when he was said to appear and lead to victory the troops of Luchino Visconti - there were many representations of the Saint on the saddle, in a warlike attitude.
The project of Bernardino Ciampi for a banner of the city depicting, was studied in the XVIth century. There were also many works of art of the XVIIth century, where Ambrose was placed side by side with other Milanese bishops, like San Galdino and especially San Carlo Borromeo, whose memory was certainly still alive and deeply felt. Among the most important exemples we can find: "La Vergine Maria col Bambino" (1595), "Madonna col Bambino ed i Santi Carlo, Ambrogio e Giacomo" (Saronno, Sacntuary of theVirgin of Miracles 1599), "La Vergine Immacolata tra i Santi Ambrogio e Carlo" ( Cislago , near Varese, Saint Mary of Assumption 1618), "La Madonna con Bambino in gloria con Sant'Ambrogio, un santo vescovo ed un offerente" (Imbersago, Saint Paul). The crucifix of an unknown author of the XVIIIth century is very remarkable: it is now to be found in Saint Joseph at Garbagnate Rota (Lecco) where Ambrose is represented praying near the dying Christ. Ambrose is still portrayed side by side with Borromeo in the work of Picenardi of Crema and in an anonymous altar-piece of S.Ambrose's church at Morazzone (Varese), while the pictures in the church of Sant'Ambrose at Cassina Amata are entirely devoted to him. Among the more recent iconographic evidencies there is the bronze statue of Ambrose casted by Adolfo Wildt in 1930 within the War Memorial in Largo Gemelli (Milano) and the 12 slabs of 1950 that adorn the more recent left door of the Duomo of Milano.
Page by A. Anguissola, P. Barillari, V. Cusumano (translated by F. Satolli)