ABSTRACT
To help summarize the arguments set forth in this book, this conclusion begins with a brief investigation of the sculptural program at the church of San Simpliciano in Milan (1171) as a Romanesque iteration of Saint Ambrose's porta coeli. The iconography of this portal visually highlights the close links between Saint Ambrose's theology of spiritual transformation at the threshold and liturgical procession in the city of Milan. Depictions of local saints and bishops in liturgical processions on the jamb portals relied intervisually on earlier ecclesiastical sculptural programs in Milan and functioned together with contemporary liturgical processions to continually sanctify the city.
