DOI Page / Citation link:
https://doi.org/10.11588/diglit.42129#0136
THE CERTOSA, NEAR PAVIA.
59
PLATE VII.
THE GROINED CEILINGS OF THE CHURCH OF THE CERTOSA.
Wiiat we have admired as a whole, and in its general application in
Plate IL, we see here in detail and on a larger scale. Four principal
modes of decoration are employed on the magnificent groined ceiling of
this church. The first, and that which most frequently occurs, consists
of golden stars upon a deep ultra-marine ground ; the second and third1
are given in the present Plate ; a fourth will be found in the additional
Plate 4, No. II.
Each compartment of the ceiling in the side aisles and choir is divided
by groinings left in stone-colour, hut flanked on each side with a border
or frieze in white arabesque on a blue ground, divided at equal distances
by small golden rosettes on a red ground. The same kind of arrange-
ment exists in the nave and transept, except that the ground of the white
arabesques is here of various colours. Over the arches in the side aisles,
leading from one division of the groining into the other (b), and at the
springing of the arches appear the busts and half-length figures of saints
in natural colours on a blue ground. The arches along the walls with
the small windows are bordered by yellow arabesques upon a bright
red ground.2
A, C, are the groined ceiling of the side aisles.
B, is one of the arches leading from one intercolumniation to the other, forming a right angle with
the foregoing.
D, is the geometrical design of one of the little vaults in the small chapels of the transept, and the
archivolt belonging to it.
a, c, are the patterns of the vault A, C, on a larger scale.
b, another of the little arches, with the half-length figure of a saint.
1 The beautiful effect of the combination of green with blue, so contrary to the accepted rules of
harmony, may teach us how, by the judicious employment of white lines and golden ornaments as means
of union, the most opposite elements may be made subservient to a general and perfect harmony.
! The ornaments on the ceiling are gold in the original, but the arabesques on the jvalls are yellow.
59
PLATE VII.
THE GROINED CEILINGS OF THE CHURCH OF THE CERTOSA.
Wiiat we have admired as a whole, and in its general application in
Plate IL, we see here in detail and on a larger scale. Four principal
modes of decoration are employed on the magnificent groined ceiling of
this church. The first, and that which most frequently occurs, consists
of golden stars upon a deep ultra-marine ground ; the second and third1
are given in the present Plate ; a fourth will be found in the additional
Plate 4, No. II.
Each compartment of the ceiling in the side aisles and choir is divided
by groinings left in stone-colour, hut flanked on each side with a border
or frieze in white arabesque on a blue ground, divided at equal distances
by small golden rosettes on a red ground. The same kind of arrange-
ment exists in the nave and transept, except that the ground of the white
arabesques is here of various colours. Over the arches in the side aisles,
leading from one division of the groining into the other (b), and at the
springing of the arches appear the busts and half-length figures of saints
in natural colours on a blue ground. The arches along the walls with
the small windows are bordered by yellow arabesques upon a bright
red ground.2
A, C, are the groined ceiling of the side aisles.
B, is one of the arches leading from one intercolumniation to the other, forming a right angle with
the foregoing.
D, is the geometrical design of one of the little vaults in the small chapels of the transept, and the
archivolt belonging to it.
a, c, are the patterns of the vault A, C, on a larger scale.
b, another of the little arches, with the half-length figure of a saint.
1 The beautiful effect of the combination of green with blue, so contrary to the accepted rules of
harmony, may teach us how, by the judicious employment of white lines and golden ornaments as means
of union, the most opposite elements may be made subservient to a general and perfect harmony.
! The ornaments on the ceiling are gold in the original, but the arabesques on the jvalls are yellow.