MCM - Milano Capital of the Modern, edited by Lorenzo Degli Esposti, is made up of texts and images from over 300 contributors from Europe and the US, across three generations, involved in the activities of the Padiglione Architettura in EXPO Belle Arti of Vittorio Sgarbi, a programme by the Regione Lombardia hosted in the Grattacielo Pirelli during the EXPO 2015. They investigate the relationships between modern architecture, the city of Milan (Razionalismo, reconstruction, Tendenza, Radical Design, up to current research) and the city in general, between single and specific works and the large scale of the urban territory, in the contradictions between architecture autonomy and its dependence on specific place and historical time. The idea of MCM is that each capital of the Modern brings an original version of modernity in architecture: in the specific Milanese case, this kind of Modern is characterized by the simultaneous presence of abstract, systematic and syntactic features and an ontological conception of both buildings and architectural and urban voids.

Modern architecture articulated itself in specific centers of propulsion, revision and critique during the 20th century. The case of Milan is exemplary: Terragni and Razionalismo, the reconstruction (Ponti, Rogers, Moretti, Viganò, etc.), the Tendenza of Rossi, product design, up to the current research. MCM traces this history from several contributors' points of view.

In this new and illuminating interpretation of Ambrose, bishop of Milan from 374 to 397, Neil McLynn thoroughly sifts the evidence surrounding this very difficult personality. The result is a richly detailed interpretation of Ambrose's actions and writings that penetrates the bishop's painstaking presentation of self. McLynn succeeds in revealing Ambrose's manipulation of events without making him too Machiavellian. Having synthesized the vast complex of scholarship available on the late fourth century, McLynn also presents an impressive study of the politics and history of the Christian church and the Roman Empire in that period. Admirably and logically organized, the book traces the chronology of Ambrose's public activity and reconstructs important events in the fourth century. McLynn's zesty, lucid prose gives the reader a clear understanding of the complexities of Ambrose's life and career and of late Roman government.

Martha Pollak offers a pan-European, richly illustrated study of early modern military urbanism, an international style of urban design.

At the turn of the twentieth century Italian opera participated to the making of a modern spectator. The Ricordi stage manuals testify to the need to harness the effects of operatic performance, activating opera's capacity to cultivate a public. This book considers how four operas and one film deal with their public: one that in Boito's Mefistofele is entertained by special effects, or that in Verdi's Simon Boccanegra is called upon as a political body to confront the specters of history. Also a public that in Verdi's Otello is subjected to the manipulation of contemporary acting, or one that in Puccini's Manon Lescaut is urged to question the mechanism of spectatorship. Lastly, the silent film Rapsodia satanica, thanks to the craft and prestige of Pietro Mascagni's score, attempts to transform the new industrial medium into art, addressing its public's search for a bourgeois pan-European cultural identity, right at the outset of the First World War.

The history of design in Italy is explored in this authoritative and comprehensive work. Design periods include the era of Piranesi, the eclecticism of the 19th century, the futurism of the early 20th century, the dogmatic fascism of the interwar period, the designs of Pier Luigi Nervi and on to the present day.