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Not a guidebook, but a sequence of itineraries that wind and weave among the masterpieces and the beauties of the Monumental Complex of the Museum and Treasury of Monza Cathedral. A series of key readings, insights and links to better represent the complexity and richness of the museum’s heritage and at the same time suggest routes, and arouse new curiosity.
A wide selection of information boxes dedicated to the greatest masterpieces and the most decisive characters in the history of Monza Cathedral accompany the reader – as well as visitor – along roads already marked or yet to be traced.

The volume includes a repertoire of 240 headwords (enriched by 13 box insights) regarding the basilica of St. Giovanni Battista in Monza, Topographical and ideal centre of the city, a monument whose importance is recognized in local and diocesan context and whose relevance is also recognized in the context of national artistic history. The headwords are
related to the History of Institutions and Characters, the Liturgy, the History of the Arts that differently connect to Monza Cathedral.
The texts are accompanied by more than 240 colour illustrations.

The volume collects the proceedings of the historical-archaeological meeting, held at the Museum and Treasury of the Monza Cathedral on the 13th May 2017, dedicated to the figure of Queen Teodolinda. The essays are accompanied by more than 80 colour illustrations.

An unprecedented map of the city centre, designed by Antonio Monteverdi, with fifty points of historical and artistic, religious and civic interest (described by explanatory texts on the back).
An invitation to a cultural walk, to dwell on the beauty and the monuments of Monza.

A celebration of the only armed unit – after the Swiss Guard – that can attend religious services and was founded to protect the Iron Crown and the Archpriest of Monza.
More than 100 illustrations, including historical photos and unpublished documents, illustrate the historical, archival and iconographic research conducted specifically for this publication.
The work is completed by a rich documentary apparatus (which includes, among others, the Statute and the Rules of Procedure) and an in-depth bibliographical note.

Nine essays, accompanied by more than 100 illustrations, introduce the real “Atlas” of Theodolinda’s Chapel: more than 300 photographs that illustrate the entire pictorial cycle of the Chapel. General views and explanatory diagrams of each level and of individual scenes alternate with magnifications and details. The volume is completed by a series of in-depth notes on some aspects of the work (accompanied by more than 20 images), abstracts in English of the essays, notes, bibliography and indexes.

Five specialist essays, illustrated by a rich iconographic apparatus of unpublished post-restoration photographs and comparison images, describe the wall paintings of the Zavattari. A big folding page with a photo of the walls of the chapel provides the reader with a complete view of the iconographic program of the paintings.