I

54 THE CERTOSA, NEAR PAVIA.
partments of different saints ; here are also sixty medallions, with similar
subjects, all according to Cicognara “ oltre ogni credere degni d’ammira-
zione.” There certainly exists nothing finer of the Lombardie chisel.
The base, too, is full of curious and delicate medallions, with heads of
classic heroes and Roman emperors, sacred and profane personages, inter-
mixed with arms, trophies, &c.

PLATE II.
VIEW OF THE INTERIOR.
There is a solemn grandeur about this interior, which prepossesses
the spectator at once, and disposes him to excuse the irregular and
defective parts which it presents. The massy columns, the widely-spread
arches, the colour of age on the marble walls, the sparkle of the gilt stars
from the azure vaults, seen by the “ dim, religious light,” which only by
degrees allows an inspection of the endless details,—all tend to produce
the impression of space, grandeur, and harmony.
On a critical examination, the traces of the various ages in which this
edifice was erected become obvious. The most ancient portion dates from
a period when the fundamental rules of architecture were by no means
settled, and the romantic style was no longer satisfactory : then
follows the style of the revival; then, as the building became more
advanced, the proportions of Bramante were adopted, and more attention
was given to the ornamental part ; and thus, age after age, each leaving
the imprint of its characteristics.
But, thanks to the ruling taste of the Monks, this variety, far from
producing the effect so often felt in works of different epochs, is an
inexhaustible source of pleasure and instruction.
At the farther end of the nave the opening at the octagon dome may
be observed, and, underneath, the rich bronze gates that divide the nave