DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42129#0120
THE CERTOSA, NEAR PAVIA.
53
which was begun in 1473 ; he also appears to have directed the painted
decorations of the interior in its principal arrangements.
Many were the first-rate sculptors who contributed to the plastic
and stone works of the Certosa ; but here again thirty-two names are all
we have, among which Giov. Ant. Amadeo, Andrea Fusine, Agostino
Busti detto il Bambaja, Marco Agrate, and Christofano Solari, called
il Gobbo, artists to whom we may well ascribe the exquisite chisellings
in the candelabra between the windows and the bassi-relievi on both
sides of the great door.
As to the painters, a similar uncertainty prevails with respect to most
of them ; yet we know what parts were painted by Ambrogio da Fossano,
by Solari, by Luini, and by the Campi. The finest paintings at the
altars are also by Ambrogio da Fossano ; others are by P. Perugino, the
Procaccini, Guercino, etc.
Endless are the arcades in the Certosa, adorned with the finest terra
cottas ; numberless the works of stained glass, Florentine mosaic, bronzes,
carvings and marbles. In short, there is such a combination of perfection
in this Certosa, that, instead of being, as it too generally is, hurried over
by travellers as the last object of their curiosity, or omitted altogether,
it ought to be one of the chief points in a visit to Italy, and should be
considered by artists a means of acquiring in many branches of art the
utmost finish and refinement.
PLATE I.
VIEW OF THE EXTERIOR OF THE CHURCH.
From the vestibule which serves as the principal entrance to the
monastery, a large quadrangular court is entered, at the opposite end of
which the façade rises, with all its treasures of sculpture and costly
marbles
1 For the sculptures of the portico see Durelli’s work mentioned above, Plates 2 to 27 ; and for those
of the windows PI. 28—32, Cicognara Storia della Scoltura, etc., PI. 46—48.
53
which was begun in 1473 ; he also appears to have directed the painted
decorations of the interior in its principal arrangements.
Many were the first-rate sculptors who contributed to the plastic
and stone works of the Certosa ; but here again thirty-two names are all
we have, among which Giov. Ant. Amadeo, Andrea Fusine, Agostino
Busti detto il Bambaja, Marco Agrate, and Christofano Solari, called
il Gobbo, artists to whom we may well ascribe the exquisite chisellings
in the candelabra between the windows and the bassi-relievi on both
sides of the great door.
As to the painters, a similar uncertainty prevails with respect to most
of them ; yet we know what parts were painted by Ambrogio da Fossano,
by Solari, by Luini, and by the Campi. The finest paintings at the
altars are also by Ambrogio da Fossano ; others are by P. Perugino, the
Procaccini, Guercino, etc.
Endless are the arcades in the Certosa, adorned with the finest terra
cottas ; numberless the works of stained glass, Florentine mosaic, bronzes,
carvings and marbles. In short, there is such a combination of perfection
in this Certosa, that, instead of being, as it too generally is, hurried over
by travellers as the last object of their curiosity, or omitted altogether,
it ought to be one of the chief points in a visit to Italy, and should be
considered by artists a means of acquiring in many branches of art the
utmost finish and refinement.
PLATE I.
VIEW OF THE EXTERIOR OF THE CHURCH.
From the vestibule which serves as the principal entrance to the
monastery, a large quadrangular court is entered, at the opposite end of
which the façade rises, with all its treasures of sculpture and costly
marbles
1 For the sculptures of the portico see Durelli’s work mentioned above, Plates 2 to 27 ; and for those
of the windows PI. 28—32, Cicognara Storia della Scoltura, etc., PI. 46—48.