DOI Page / Citation link:
https://doi.org/10.11588/diglit.42129#0140
THE CERTOSA, NEAR PAVIA.
01
PLATE IX.
MURAL DECORATIONS OF THE TRANSEPT.
This Plate gives the best idea of the great richness and elegance of
the decoration in this sanctuary. Assisted by the many painted
openings, introduced on the large wall-spaces, the transept presents itself
to the eye as a master-piece of art. Nowhere do we find fresco-paintings
so intimately connected with, and subservient to, architecture, of which
all the principal forms are here carried out with the most satisfactory
illusion.
The composition in the lunette of the principal chapel, represents
the family of Gian Galeazzo Visconti on their knees before the Holy
Virgin : John Galeazzo offering her the model of the church ; Filippo
kneeling behind ; and tAvo others of his sons on the opposite side. This
fresco is attributed to Bramantino,1 by whom are also probably the
four saints on each side of the arch, and the angels on the entablature
above, supporting shields on Avhich the arms of the Visconti are blended
with the mottoes of the Carthusians.
The groined ceiling of the transept is decorated with the golden stars,
the small friezes near the ribs are upon grounds of different colours, and,
instead of the rosettes, heads of cherubs are introduced.
The walls are in their natural colour of a grayish marble, but all the
lower parts, with the smaller bas-reliefs, are painted in imitation of
marbles of rather lively colours.
On the second wall, up to the frieze, on which infant-children and
medallions are painted, the same arrangement is adopted, the lunette
above this frieze is decorated with a rich architectural pattern ; the
space over the entablature, instead of being painted sky-blue, as in the
1 Bartolomeo di Antonio Soardi, called il Bramantino, because a pupil of the great Bramante,
flourished about 1513.
01
PLATE IX.
MURAL DECORATIONS OF THE TRANSEPT.
This Plate gives the best idea of the great richness and elegance of
the decoration in this sanctuary. Assisted by the many painted
openings, introduced on the large wall-spaces, the transept presents itself
to the eye as a master-piece of art. Nowhere do we find fresco-paintings
so intimately connected with, and subservient to, architecture, of which
all the principal forms are here carried out with the most satisfactory
illusion.
The composition in the lunette of the principal chapel, represents
the family of Gian Galeazzo Visconti on their knees before the Holy
Virgin : John Galeazzo offering her the model of the church ; Filippo
kneeling behind ; and tAvo others of his sons on the opposite side. This
fresco is attributed to Bramantino,1 by whom are also probably the
four saints on each side of the arch, and the angels on the entablature
above, supporting shields on Avhich the arms of the Visconti are blended
with the mottoes of the Carthusians.
The groined ceiling of the transept is decorated with the golden stars,
the small friezes near the ribs are upon grounds of different colours, and,
instead of the rosettes, heads of cherubs are introduced.
The walls are in their natural colour of a grayish marble, but all the
lower parts, with the smaller bas-reliefs, are painted in imitation of
marbles of rather lively colours.
On the second wall, up to the frieze, on which infant-children and
medallions are painted, the same arrangement is adopted, the lunette
above this frieze is decorated with a rich architectural pattern ; the
space over the entablature, instead of being painted sky-blue, as in the
1 Bartolomeo di Antonio Soardi, called il Bramantino, because a pupil of the great Bramante,
flourished about 1513.