DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.7186#0034
i6
Abbey of Chiaravalle, near Milan. [Plates 3 & 4.
An irregular enclosure shuts in the abbey and the remains of the convent.
The church is of Gothic architecture ; the facade was in great part destroyed
in the seventeenth century. The summit of its octagonal cupola commands an
extensive and beautiful view. The church is spacious and grand, and some
of its walls are covered with frescoes defaced by time. The choir is superb
with its marvellous carvings. To the right is a great staircase, at the summit
of which is a fresco by Bernardino Luini. Behind the choir, to the left, is a
small rectangular cemetery, girt by a low wall; and round about stand little
mortuary cells in the Gothic style, in each of which stood the monument of
some distinguished family, as appears from the portraits, coats of arms and
mottoes painted or sculptured there. Few of these cells now remain, and even
these ill-preserved and ill-restored. Amongst such relics are still found certain
gravestones of the Torriani; particularly those of Pagano and Martino della
Torre, captains of the Milanese people in the thirteenth century. There is also
a painting representing Manfredo Archinti before the Blessed Virgin, and the
notorious heretic Wilhelmina (d. 1282).
Wherever the Carthusians founded a monastery of their order, their rule
was to give to the church which had to be built the very same arrangements
and character as belonged to the first church they raised. There were rules for
the elevation of the cupola which served also as campanile, for the opening of
the windows, for the direction to be followed from east to west, for the spot to be
occupied by each altar; and many more into which we need not here enter.
In the ancient duchy of Milan are several of these Carthusian convents, and
their contiguous churches all resemble one another in style. Yet the Certosa of
Chiaravalle exceeds the others in grandeur: the cupola-campanile, which in the
sister churches is of very simple construction, in this is most elegant and in-
genious. The solidity of its structure is admirable : it rests on four pointed
arches only, which at a certain height support the cupola with its tower or
campanile.
As seen in our Plate (3), the decoration of this campanile is architectural
rather than ornamental, such decoration consisting merely of the small cornice
arches. The means adopted for sustaining the lofty centre of the campanile
are ingenious and worthy of remark: parallel with the sides of the actual cam-
Abbey of Chiaravalle, near Milan. [Plates 3 & 4.
An irregular enclosure shuts in the abbey and the remains of the convent.
The church is of Gothic architecture ; the facade was in great part destroyed
in the seventeenth century. The summit of its octagonal cupola commands an
extensive and beautiful view. The church is spacious and grand, and some
of its walls are covered with frescoes defaced by time. The choir is superb
with its marvellous carvings. To the right is a great staircase, at the summit
of which is a fresco by Bernardino Luini. Behind the choir, to the left, is a
small rectangular cemetery, girt by a low wall; and round about stand little
mortuary cells in the Gothic style, in each of which stood the monument of
some distinguished family, as appears from the portraits, coats of arms and
mottoes painted or sculptured there. Few of these cells now remain, and even
these ill-preserved and ill-restored. Amongst such relics are still found certain
gravestones of the Torriani; particularly those of Pagano and Martino della
Torre, captains of the Milanese people in the thirteenth century. There is also
a painting representing Manfredo Archinti before the Blessed Virgin, and the
notorious heretic Wilhelmina (d. 1282).
Wherever the Carthusians founded a monastery of their order, their rule
was to give to the church which had to be built the very same arrangements
and character as belonged to the first church they raised. There were rules for
the elevation of the cupola which served also as campanile, for the opening of
the windows, for the direction to be followed from east to west, for the spot to be
occupied by each altar; and many more into which we need not here enter.
In the ancient duchy of Milan are several of these Carthusian convents, and
their contiguous churches all resemble one another in style. Yet the Certosa of
Chiaravalle exceeds the others in grandeur: the cupola-campanile, which in the
sister churches is of very simple construction, in this is most elegant and in-
genious. The solidity of its structure is admirable : it rests on four pointed
arches only, which at a certain height support the cupola with its tower or
campanile.
As seen in our Plate (3), the decoration of this campanile is architectural
rather than ornamental, such decoration consisting merely of the small cornice
arches. The means adopted for sustaining the lofty centre of the campanile
are ingenious and worthy of remark: parallel with the sides of the actual cam-