1242:, originally placed in the suite of rooms used by Gian Galeazzo Visconti on his visits. This is one of only three very large pieces by the workshop, who mostly made much smaller marriage caskets. The work, a late Gothic carving masterpiece, measures 2.45 meters at the base for a maximum height, including the pinnacles, of 2.54 meters. It is composed of minute compositions and adorned with small tabernacles with statuettes of saints inside; in the central compartment there are 26 panels illustrating the legend of the Magi according to the apocryphal gospels; in the compartment on the right and on the left, 36 bas-reliefs (18 on each side) depict episodes from the life of Christ and the Virgin. In the median cusp, inside a tondo supported by angels, the figure of God dominates, while the base of the triptych presents a piety, flanked by 14 aedicules with as many statuettes of saints. There are also two external polygonal pillars made up of 40 small tabernacles adorned with statuettes.
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1204:. It is remarkable both from the point of view of the inlay, and for the quality of the designs from which the inlays were taken, probably produced by the same artists who created the pictorial decorations such as Bergognone and Zenale. The 42 dossals depict saints or biblical characters, each of which shows architectural or natural scenarios with elaborate and imaginative Renaissance-style constructions. The execution was entrusted by the Duke in 1486 to Bartolomeo de Polli, a Modenese already active at the court of Mantua, and completed by the Cremonese inlayer Pantaleone de Marchi, in time for the consecration of the church, which took place in 1497.
293:(the consortium of masons and builders chosen by the citizens of Milan) were often tense: the lord intended to transform Milan cathedral into a dynastic mausoleum of the dynasty, putting the funeral monument of his father Galeazzo II in the central part of the cathedral. This raised strong opposition from both the Fabbrica and the Milanese, who zealously guarded their autonomy. Ultimately Gian Galeazzo chose to build a new church: the Certosa of Pavia, to serve as a mausoleum for the Visconti dynasty. Unscrupulously, he assigned many employees of the Fabbrica del Duomo, such as Giacomo da Campione or
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1150:. It is a composite cycle, with scenes drawn from the New Testament, hagiographies of Carthusian and other saints, skilfully inserted into Gothic architecture through a complex system of decorative squares, framing large sacred scenes and smaller panels with isolated figures of evangelists, doctors of the Church, prophets, sibyls, Carthusians and blessed saints. The dome was frescoed in 1599 by
696:. In addition to applied sculpture, the facade itself has a rich sculptural quality because of the contrast between richly textured surfaces, projecting buttresses, horizontal courses and arched openings, some of which are shadowed, while those in the small belfries are open to the sky. The façade, created by superimposing simple rectangles, is loaded with decorations, a typical procedure of
1274:, covered the great vault with biblical episodes, monumental figures of prophets in niches, and graceful cherubs revolving in goblets. Compared to the Roman model, however, Sorri's work conveys playfulness and lightness to the viewer through the use of bright, clear chromatic chords and the sumptuousness of settings and settings. The wooden cabinets, adorned with statuettes attributed to
802:. French troops were encamped round the Certosa. Notations of work on the facade did not resume until 1554, when a revised design under the direction of Cristoforo Lombardo was approved for the completion of the facade above the second arcade; there marble intarsia was substituted for the rich sculptural decorations of the lower area. Some final details were added by
1211:, with inserts in polychrome marble and precious stones such as lapis lazuli, carnelian, jasper and onyx, and bronze finishes. It was built in 1568 by the sculptor Ambrogio Volpi. The small temple of this altar is enriched by thirteen bronze statuettes by Angelo Marini. The altar cross, the candelabra and the large candlestick (2.03 meters high) are by
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and constituted the new sacristy of the church and the library was moved to its current location, located on the shorter side of the cloister. small, where the monastery's infirmary used to be. The library was implemented by the prior Matteo
Valerio in the first half of the seventeenth century, who also enriched it with secular texts and manuscripts.
209:. Though the Carthusians in their early centuries were known for their seclusion and asceticism and the plainness of their architecture, the Certosa is renowned for the exuberance of its architecture, in both the Gothic and Renaissance styles, and for its collection of artworks which are particularly representative of the region.
355:. By 1463 the Milanese yard supplied the marble for the capitals of the cloisters, and in 1473 a contract between the Fabbrica del Duomo and the monks of the Certosa, stibulated the Fabbrica undertook to guarantee a continuous supply of marble and building stone to the Certosa. Control over the marble was entrusted to
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The gipsoteca collects more than 200 large and small scale casts and some sculptures, including the lamented Christ by
Antonio della Porta (early 16th century. In the years from 2002 to 2006, most of these casts were restored and placed, with a new layout by the Superintendence for Architectural and
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procession. In 1810 the monastery was closed until the
Carthusians reacquired it in 1843. In 1866 it was declared a National Monument and sequestrated by the Italian State, although some Benedictines resided there until 1880. The monks currently living in the monastery are Cistercians admitted to it
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In addition, the
Certosa also owned a large palace, with a garden and oratory in Milan, in the parish of San Michele alla Chiusa, a palace and the church of Santa Maria d'Ognissanti in Pavia and, from the second half of the 17th century, of a large farm specialized in the production of wine, with a
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Since its foundation, the monks had a library, including liturgical texts necessary for daily celebrations, and others, of scientific and humanistic subjects. We know that a first library was set up between 1426 and 1427, but at the end of the sixteenth century its premises were used as a sacristy
228:, laying the foundation stone on 27 August 1396, as recorded by a bas-relief on the facade. The location was strategically chosen midway between Milan and Pavia, the second city of the Duchy, where the Duke held one of his courts, at the end of the Visconti Park, which connected the Certosa to the
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The
Certosa initially only held 12 Carthusian monks, who lived in total cloistered life, and bound by a contract that provided for the use of part of their proceeds (fields, land, income, etc.) for the construction of the monastery itself. In the eighteenth century the monastery was the owner of
1435:, has a linear succession of windows between semi-columns that give brightness to the entire structure. It houses works from the monastic complex or connected to it. The gallery on the ground floor, the recently refurbished plaster cast gallery, houses more than 200 large and small scale casts.
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In 1560, the Prior
General of the Carthusians, a certain Piero Sarde, authorized the installation of suitable equipment for the printing of missals and choirbooks, and on 28 August he invited all the Carthusian monasteries of Italy to supply themselves exclusively with the products of the new
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took up the construction, assisted on site, for he was concurrently occupied with the cathedrals at Pavia and at Milan and other churches, by his inseparable collaborator on both cathedrals, Giovanni
Antonio Amadeo. In their hands the project was thoroughly redesigned. Scores of artists were
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In 1782, with the suppression of the
Certosa, its important one was partly divided between the Libraries of Milan and Pavia, even if some volumes were dispersed. There remained in the library of the monastery 13 illuminated choirbooks by Evangelista della Croce, Benedetto da Corteregia of
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landscape, punctuated in squares by monumental monochrome figures with serpentine legs, called telamons, while the vault, decorated with spectacular grotesques painted with a brush tip. on a white background, it houses in the center, within an elliptical frame, the representation of the
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and
Antonio Mantegazza are preserved. Here are also preserved polychrome stone sculptures by Lombard artists of the second half of the fifteenth century, wall paintings of the sixteenth century detached from their original locations, panel paintings, such as the Altarpiece by
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Access to the monastic complex is through a
Renaissance-era vestibule, frescoed both inside and out. In the faded entrance lunette, two angels hold the coat of arms of the client Gian Galeazzo, with the Visconti snake and the imperial eagle. The upper decoration, drawn by
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were inserted at the top, made for another Altarpiece of the Certosa which was subsequently dismembered. The altar frontal, in semi-precious stones and polychrome marble, is the work of Tommaso Orsolino from 1648. The chapel houses a wooden relic of the True Cross.
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It is accessed through the bottom of the right transept, and was decorated in the Baroque period. Originally, the room, built in 1425, housed the chapter and the library of the monastery and was only transformed into a sacristy at the end of the 16th century.
1399:, while in the center is the sun or radiant ray, emblem of the Visconti dynasty. The marble pulpit was carved in the early 16th century with the classical arch and statuary balustrade. From there, readings were taken during meals. Later, the fresco of the
367:(1473) it was possible to unload the marbles and stones directly at the Certosa. Also in 1473 the work of coating and decoration of the facade of the monastery began, for which the Carthusians decided to use, a unique case in the Lombard area, the
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in Bologna; among the architects in close correspondence at all three projects, Borlini ascribes the form of the original facade at the Certosa to Giacomo da Campione, who was working at Pavia while his uncle Matteo was completing San Giovanni in
1325:), which measures c.125x100 meters. The elegant cells of the monks open to the central garden. The arcades have columns with precious decorations in terracotta, with tondoes portraying saints, prophets and angels, alternatively in white and pink
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The museum of the Certosa of Pavia is located in the rooms of the Ducal Palace, the summer residence of the Visconti and Sforza dynasty then used as a guesthouse. The building, modified in 1625 by an intervention on the facade by the architect
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Given the absence of marble and stone quarries near the Certosa, around the middle of the fifteenth century, stone material became scarce for construction. The Carthusians enjoyed substantial income from the vast agricultural lands donated by
1540:. Next to it is room D, originally intended as an oratory of the guesthouse, the vault of which is decorated with frescoes by Giovan Mauro della Rovere known as Fiammenghino. Then there is room F, with masterpieces by Bartolomeo Montagna,
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359:, who at the time was responsible for both construction sites. The materials, which, similarly to those for the Milan Cathedral, enjoyed the ducal exemption from duties, reached the Certosa via the Navigliaccio and were disembarked in
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866:, with which the latter wanted to celebrate his dynastic succession, obtained not without controversy after the death of his nephew Gian Galeazzo Sforza. The two altarpieces facing each other at opposite ends of the transept are
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It was one of the first rooms to be built and in the first years of work it was used as a church, being a very large rectangular room, as indicated in the progress of the works drawn up in 1451 at the request of
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from 1677, while the altarpiece by the Cremonese painter Pietro Martire Neri (1640–41) depicts the Adoration of the Magi . The chapel preserves two frescoes: Madonna with Child and Saint Jerome by
681:. The vaults are alternatively decorated with geometrical shapes and starry skies. The transept and the main chapel end with square-plan chapels with smaller, semi-circular apses on three sides.
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for this new projects. For the Duke, the Duomo became the church for burial of nobles, patricians, people, artisan and merchant guilds of Milan, while the Certosa would service the Duchy.
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in the apse of the right transept, painted in 1492–1495, when work was commencing on the new facade, portraying Gian Galeazzo Visconti offering the model of the Certosa to the
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394:. The traffic of Carrara marble towards the Certosa was so voluminous that the Carthusians themselves came to resell it to other Lombard shipyards and in particular to the
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to the monastery to continue to improve the edifice. Consequently, the Certosa includes a huge collection of artworks of all centuries from the 15th to the 18th.
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made in 1496. If the chancel vault still features Renaissance frescoes, the vast cycle of frescoes that covers the chancel walls was commissioned in 1630 from
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emerges from these works, in the balance of the proportions and the precision of the perspectives. In the right apse of the transept, Bergognone's fresco with
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has been maintained and, except for some adjustments, the extraordinary high-reliefs in marble by Bambaia, the sculptures, dating back to around 1480, by
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large estates (in part already donated by Gian Galeazzo and his successors) scattered in the fertile countryside between Pavia and Milan, such as Badile,
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An elegant portal, with sculptures by the Mantegazza brothers and Giovanni Antonio Amadeo, leads from the church to the Small Cloister (in Italian:
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However, since the foundation, the Renaissance had spread in Italy, and the rest of the edifice was built according to the new style, redesigned by
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1925:"Instrumental Neutron Activation Analysis of the marble façade of the Certosa di Pavia: Materials provenancing and problematics related to decay"
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is dedicated. The fourth chapel, whose altar is equipped with alabaster columns, preserves a frontal with the Massacre of the Innocents, by
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1088:. The chapel is illuminated by a large window, with a stained glass window made around 1485 by an anonymous Lombard master on a cartoon by
363:, from where they continued by cart to the construction site, however, after the restoration of the section navigation between Binasco and
2014:.4 (December 1963:323–336) p. 325ff; several paintings by Bergognone and a relief by Briosco show the facade in active stages of erection.
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371:, then considered of greater value than that of Candoglia and the cost of which was higher than the other materials available in the
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The Certosa is also the result of the political aspirations of Gian Galeazzo. In a coup in 1385, Gian Galeazzo had deposed his uncle
1640:"Non iam capitanei, sed reges nominarentur: progetti regi e rivendicazioni politiche nei rituali funerari dei Visconti (XIV secolo)"
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decoration of the small pilasters, executed by Rinaldo de Stauris between 1463 and 1478. Some arcades are decorated by frescoes by
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The great high altar is surmounted by a colossal ciborium in the form of a temple with a central plan with a large dome, built in
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570:'s army, as well as the liturgical silverware and the large canopy, covered with gold flakes and stones precious, used for the
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Landscape Heritage of Lombardy, in the ground floor gallery of the Ducal Palace. Upstairs, the historical setting of 1911 by
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464:(it was the property of the monks also the castle of Carpiano and the church of San Martino), Carpignano, Milan, Giovenzano,
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This campaign was interrupted in 1519 as work was going forward by the condition of French occupation in Lombardy after the
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in 1508, is better preserved. Inside, a marble arch with plant motifs bears tondi with the effigies of Gian Galeazzo and
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Neither Ludovico nor his spouse Beatrice are actually buried here, this being a cenotaph, i.e. an empty funeral monument
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386:. The precious marble, after being embarked in Carrara, circumnavigated Italy and arrived by ship at the mouth of the
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and numerous members of the dynasty. Then there is the study, frescoed in the second half of the 16th century with a
1064:(1663). The altar is made of Egyptian granite, bronze, semi-precious stones and polychrome marble and is the work of
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architecture, every part being decorated with reliefs, inlaid marble and statues. Sculptors who worked on it include
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1383:. On the west wall of the hall is a small fresco, the oldest in the monastery, in the late Gothic style depicting a
1282:, one of the main representatives of the Leonardesque school that flourished in Milan after the master's departure.
421:, (1481–1499). The church was consecrated on 3 May 1497. The lower part of the façade was not completed until 1507.
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1548:. There are also other rooms with sculptures, paintings and frescoes from the monastery and its construction site.
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645:. The whole interior is covered with Renaissance motifs in bright colors and decorated with the GRA-CAR monogram (
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Francesco Frangi. "Nuvolone." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 7 February 2017
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The sixth chapel on the right houses the Madonna and Child with Saints Peter and Paul, a Baroque masterpiece by
351:, never acquired their own marble quarries, but always relied on private suppliers, often relying mainly on the
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1048:. The first chapel on the left is in Baroque style. The altarpiece with Mary Magdalene at Christ's feet is by
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263:. Gian Galeazzo aspired to re-establish a new kingdom in Northern Italy, matching these historical examples.
2805:"La Certosa di Pavia tra devozione e prestigio dinastico: fondazione, patrimonio, produzione culturale", in
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of the Visconti. It was designed as a grand structure with a nave and two aisles, a type unusual for the
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2527:"Il trittico degli Embriachi nella Certosa di Pavia. Tecnologia costruttiva e intervento di restauro"
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795:. Above the central arch is a shallow balcony of three arches, above which rises the central window.
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In 1796, in retaliation for the revolt in Pavia, the lead covering of the church roof was removed by
164:
20:
1782:
Erba, Luisa (1997). "Edifici di culto e agricoli nelle possessioni della Certosa (sec. XIV-XVIII)".
1068:. The third chapel, dedicated to St. John the Baptist, to whom the cycle of frescoes by the Genoese
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Milan, 1955:611–82), who recovered Bernardo's building activity from scattered traces in documents.
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1976:"L'approvvigionamento lapideo tra XIV e XV secolo nei cantieri del Duomo e della Certosa di Pavia"
1725:"L'approvvigionamento lapideo tra XIV e XV secolo nei cantieri del Duomo e della Certosa di Pavia"
1691:"L'approvvigionamento lapideo tra XIV e XV secolo nei cantieri del Duomo e della Certosa di Pavia"
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187:, of which today only scattered parts remain. It is one of the largest monasteries in Italy.
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The construction contract obliged the monks to use part of the revenue of the lands held in
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The frescoes that adorn the walls and vaults of the transept are due, as has been said, to
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By 1476 the Carthusians formed relations with some families of merchants and quarrymen of
8:
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1278:, are a remarkable work of sculpture. On the altar, the triptych of the Assumption is by
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983:, it is now disassembled and scattered among museums: the only portion in the Certosa is
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Description of the Charterhouse of Pavia Louis Marquis Malaspina Sannazaro (Milan, 1818)
2773:, Milan, (1895) rev. 1911. The first scholarly study from which subsequent work departs.
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and Saints Fortunatus, George and Peter of Verona (apsidal basin), below, altarpiece by
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In the presbytery there is the large Renaissance carved wooden choir, commissioned by
1142:: the polyptych with the Madonna and Saints Hugh of Langres and Hugh of Canterbury by
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In the southern transept is the tomb of Gian Galeazzo Visconti, begun in 1494–1497 by
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255:, Gian Galeazzo resided and maintained his court in Pavia, the former capital of the
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1174:, executed to cartoons by masters active in Lombardy in the 15th century, including
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on which the arch rests, the construction being derived from the Classical, used by
417:, and including some new cloisters. Solari was followed as director of the works by
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Saint Catherine of Siena together with her homonymous Saint Catherine of Alexandria
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1084:(inserted in a rich baroque altar in alabaster and polychrome marble), represents
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Il disegno della facciata fu fatta da Jacomo Antonio Dolcebono e Ambrogio Fossano
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Courts and Courtly Cultures in Early Modern Italy and Europe Models and Languages
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1950:"The Medallions of the basamento of the Certosa di Pavia. Sources and Influence"
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from the famous Umbrian painter in 1496. It develops over two floors: above the
731:. Its profile, with roofs on three levels, has been compared to the churches of
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The single large rectangular room was frescoed in 1600 by the Sienese painter
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The sober form of the roughly finished brick front can be seen in a fresco by
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The church, the last edifice of the complex to be built, was to be the family
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Three panels of this forming a triptych are in the National Gallery, London:
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For these dates, see Giampiero Borlini, "The Façade of the Certosa in Pavia"
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The façade of the church is famous for its exuberant decorations, typical of
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Annali della Scuola Normale Superiore di Pisa, Classe di Lettere e Filosofia
893:(1490). Other works by Bergognone are now found in other museums of Europe.
2640:(in Italian). Ministero per i Beni e le Attività Culturali e per il Turismo
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1302:.) This has a small garden in the center. The most striking feature is the
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The Certosa has painted masterpieces by Bergognone including the panels of
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alone is original by Perugino; the lower plates were given in 1856 to the
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The ancient plan was ascribed to Bernardo da Venezia, by A. M. Romanini (
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are on display at the National Gallery of London, in the United Kingdom.
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Archangel Michael, the Adoration of the Child and St. Raphael and Tobias
775:(1501). The porch has a large arch of classicist form resting on paired
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Nascita di una cattedrale. 1386-1418: la fondazione del Duomo di Milano
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1122:. The seventh chapel on the left preserves an altarpiece depicting the
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Portal of the sacristy with portraits of the dukes of Milan (1480-90).
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In the Cappella di San Michele (St Michael's Chapel) are frescoes by
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Ambrogio da Fossano, detto il Bergognone, un pittore per la Certosa
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Similar decorations also characterize the Grand Cloister (Italian:
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assisted by a group of unknown masters, including the very young
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175:. Built from 1396 to 1495, it was once located at the end of the
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presents the Virgin with the model of the Charterhouse, between
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720:(probably derived from architectural finds from the Roman age).
289:. However, relations between Gian Galeazzo and the heads of the
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543:
In 1782, the Carthusians were expelled from the Certosa by the
382:, such as the Maffioli, tenants of the quarries of the Marquis
372:
2666:. Ministero per i Beni e le Attività Culturali. Archived from
2631:
2558:. Ministero per i Beni e le Attività Culturali. Archived from
2383:. Ministero per i Beni e le Attività Culturali. Archived from
2096:. Ministero per i Beni e le Attività Culturali. Archived from
896:
The second chapel on the left houses the famous Altarpiece by
224:, commissioned the building of the Certosa from the architect
2776:
R. Bossaglia, M. G. Albertini Ottolenghi, F. R. Pesenti ed.,
1227:
1053:
920:. In place of the two tables scattered on either side of the
677:
on Gothic arches and is inspired, on a reduced scale, by the
391:
364:
184:
172:
1226:
The sacristy contains, among other treasures, a triptych in
1160:
God the Father with the Lamb and the Kings of the Apocalypse
2788:
1895:"LE PIETRE IMPIEGATE NELL'ARCHITETTURA MILANESE E LOMBARDA"
1391:. The lowered vault has the oldest decoration, including a
1314:
in stone and terracotta, with scenes of the Jesus with the
1026:, the statues generally being considered the masterwork of
670:
654:
2858:
Adrian Fletcher's Paradoxplace Certosa di Pavia Photo Page
584:
was discovered in the complex. Two Franciscan friars were
179:
a large hunting park and pleasure ground belonging to the
2826:
Pages Certosa on the site of the City of Certosa di Pavia
488:(where they also controlled the castle of San Colombano)
2066:
An annotation by the abbot Valerio, ca 1634–45, records
637:. On the sides, the saints Christopher and Sebastian by
3109:
Christian organizations established in the 14th century
2794:
R. Battaglia "Le "memorie" della Certosa di Pavia", in
2838:
Pages Certosa on the site of the Municipality of Pavia
1258:
The washbasin of the small cloister (about 1450-1475).
779:
which are each surmounted by a very strongly modelled
3134:
15th-century Roman Catholic church buildings in Italy
1586:
History of medieval Arabic and Western European domes
1425:
2634:"Immagini in canto. I corlai della Certosa di Pavia"
2127:(in Italian). Museo Certosa di Pavia. Archived from
562:
The Certosa di Pavia as seen from the Small Cloister
1758:"monastero di Santa Maria delle Grazie 1396 - 1782"
924:, the two panels with the Doctors of the Church by
649:, Charterhouse of Grace). The church is built on a
197:: a monastery of the cloistered monastic order of
2151:Pietro Perugino, including the Certosa Altarpiece
1170:The Certosa possesses an important collection of
3085:
1285:
1165:
285:In 1386, the people of Milan decided to rebuild
2119:Ministero per i Beni e la Attività Culturali.
1483:. There are also other paintings on canvas by
1040:, tomb of Ludovico Sforza and Beatrice d'Este.
872:Madonna and ss. Charles and Hugues de Grenoble
2883:
580:In August 1946 the illegally exhumed body of
1393:Madonna and Child and Prophets in Spectacles
771:involved. The classicist style portal is by
1668:. Milano: Mondadori. pp. 3–34, 68–99.
2911:Accademia Carrara di Belle Arti di Bergamo
2890:
2876:
1329:marble. There were once also paintings by
1056:(1757), while the fresco decoration is by
34:
3094:Roman Catholic churches completed in 1495
2897:
2815:, M. G. Albertini Ottolenghi, Milano 1998
1092:depicting Saint Catherine of Alexandria.
1080:. In the fifth chapel, the Altarpiece by
586:charged with assisting in the concealment
2853:Pro Loco Certosa di Pavia's Tourist page
2742:"Capolavori del museo e della gipsoteca"
1882:L'Architettura viscontea nel 15mo secolo
1505:
1437:
1409:
1344:
1289:
1253:
1217:
1188:
1094:
1032:
951:Other paintings in the church include a
931:
813:
742:
692:and Giovanni Antonio Amadeo himself and
619:
611:
603:
595:
557:
547:of Austria, and replaced in 1784 by the
518:
423:
400:
299:
265:
234:
16:Monastery and complex in Lombardy, Italy
1973:
1722:
1688:
279:donates the Charterhouse to the Madonna
3086:
2783:R. V. Schofield, J. Shell, G. Sironi,
1663:
396:Veneranda Fabbrica del Duomo di Milano
353:Veneranda Fabbrica del Duomo di Milano
2871:
2863:Images of the Certosa di Pavia c.1860
2664:museo.certosadipavia.beniculturali.it
2556:museo.certosadipavia.beniculturali.it
2381:museo.certosadipavia.beniculturali.it
2125:museo.certosadipavia.beniculturali.it
2094:museo.certosadipavia.beniculturali.it
1929:Bulletin de correspondance hellénique
1134:, painter in the service of Cardinal
3114:Renaissance architecture in Lombardy
3104:14th-century establishments in Italy
2961:Galleria Vittorio Emanuele II, Milan
2785:Giovanni Antonio Amadeo/ I documenti
2632:Direzione Generale Musei Lombardia.
2497:"Trittico in avorio degli Embriachi"
1781:
1596:History of early modern period domes
1591:History of Italian Renaissance domes
889:(1491) and, most significantly, the
528:building (called Certosa Cantù), in
2981:Monastery of San Salvatore, Brescia
1245:
1102:, Coronation of the Virgin between
874:painted in 1617-18, as well as the
171:, 8 km (5.0 mi) north of
13:
2155:
1521:Room C preserves the portraits of
1426:The museum of the Certosa of Pavia
1018:, 7th Duke of Milan, and his wife
991:has disappeared; three panels, the
975:, and a remnant of a polyptych by
908:, below the three tables with the
14:
3145:
2819:
1222:Detail of the wooden choir, 1497.
3129:Roman Catholic churches in Pavia
2467:"Candeliere di Annibale Fontana"
993:Virgin Adoring the Infant Christ
390:, from where it then went up to
165:a small village of the same name
3119:Carthusian monasteries in Italy
2916:Basilica of Sant'Andrea, Mantua
2843:Website of the Certosa di Pavia
2734:
2708:
2682:
2652:
2625:
2600:
2574:
2544:
2519:
2489:
2459:
2429:
2399:
2369:
2339:
2309:
2284:
2254:
2224:
2194:
2164:
2143:
2112:
2082:
2073:
2060:
2051:
2042:
2017:
2001:
1967:
1942:
1917:
1887:
1874:
1844:
857:the coronation of Mary between
536:printing house (the first book
1819:
1794:
1775:
1750:
1716:
1682:
1657:
1632:
1607:
1477:Saint Martin and Saint Ambrose
193:is the Italian translation of
1:
3099:1396 establishments in Europe
2763:
2716:"Palazzo Ducale. Primo Piano"
2347:"Polittico di Macrino d'Alba"
2070:(noted by Borlini 1963:325f.)
1615:"Cathedral (English Version)"
1495:, by Giuseppe Procaccini, by
1349:The triptych in ivory by the
1286:The Small and Grand Cloisters
1166:Stained glass and other works
870:'s Baroque masterpieces, the
751:, Saint John Baptist, facade.
591:
480:, Opera, Pairana, Pasturago,
343:. Unlike other large Lombard
3006:Rock Drawings in Valcamonica
2262:"Quinta cappella a sinistra"
2232:"Quarta cappella a sinistra"
1574:Isabella, Countess of Vertus
1373:
985:God the Father with cherubim
979:. Originally depicting the
809:
800:War of the League of Cambrai
700:architecture and is made of
220:, hereditary lord and first
19:For the Italian comune, see
7:
3021:San Michele Maggiore, Pavia
2202:"Terza cappella a sinistra"
2172:"Prima cappella a sinistra"
1579:
1240:Baldassarre degli Embriachi
1196:, Madonna, about 1475-1480.
1132:Pier Francesco Mazzucchelli
945:Certosa di Pavia Altarpiece
624:Lateral view of the facade.
523:The interior of the church.
10:
3150:
1551:
1336:
1008:Giovanni Cristoforo Romano
918:National Gallery in London
305:Giovanni Cristoforo Romano
212:
18:
2906:
2802:.1 (1992) pp. 85–198
2317:"Sesta cappella a destra"
2292:"Sesta cappella a destra"
1974:Gemelli, Filippo (2021).
1723:Gemelli, Filippo (2021).
1689:Gemelli, Filippo (2021).
1493:Giovanni Agostino da Lodi
331:, was completed in 1465.
121:
113:
108:
97:
92:
84:
74:
62:
50:
45:
33:
28:
21:Certosa di Pavia (comune)
2029:Lombardia Beni Culturali
1762:Lombardia Beni Culturali
1601:
1112:Giovanni Battista Crespi
1046:Carlo Francesco Nuvolone
1024:Santa Maria delle Grazie
957:Giovanni Battista Crespi
868:Giovanni Battista Crespi
818:Panel of St. Ambrose by
538:Breviarium Carthusiensis
3124:Monasteries in Lombardy
3041:Villa Toeplitz (Varese)
3016:Sacri Monti of Lombardy
2807:Annali di Storia Pavese
2612:Corali Certosa di Pavia
2121:"Polittico di Perugino"
1784:Annali di Storia Pavese
1460:Giovanni Antonio Amadeo
1433:Francesco Maria Richini
1126:, a masterpiece by the
1070:Giovan Battista Carlone
1001:St. Raphael with Tobias
941:God the Father blessing
900:, commissioned by Duke
876:Madonna and Saint Bruno
768:Gian Giacomo Dolcebuono
733:Santa Maria del Carmine
716:stone and Egyptian red
704:and to a lesser extent
419:Giovanni Antonio Amadeo
413:, continued by his son
339:and his successors the
2501:Museo Certosa di Pavia
2471:Museo Certosa di Pavia
2441:Museo Certosa di Pavia
2411:Museo Certosa di Pavia
2351:Museo Certosa di Pavia
2321:Museo Certosa di Pavia
2296:Museo Certosa di Pavia
2266:Museo Certosa di Pavia
2236:Museo Certosa di Pavia
2206:Museo Certosa di Pavia
2176:Museo Certosa di Pavia
1856:Museo Certosa di Pavia
1664:Grillo, Paolo (2017).
1569:Gian Galeazzo Visconti
1518:
1450:
1422:
1354:
1295:
1259:
1223:
1197:
1115:
1041:
948:
844:Filippo Maria Visconti
840:Gian Galeazzo Visconti
833:. A strong imprint of
822:
793:History of the Certosa
752:
635:Filippo Maria Visconti
625:
617:
609:
601:
563:
540:was printed in 1561).
524:
429:
406:
337:Gian Galeazzo Visconti
316:
313:Gian Galeazzo Visconti
282:
244:
218:Gian Galeazzo Visconti
3031:Stelvio National Park
2638:coralicertosapavia.it
1509:
1497:Stefano Maria Legnani
1441:
1413:
1348:
1293:
1257:
1221:
1192:
1172:stained glass windows
1098:
1036:
943:, upper panel of the
935:
848:Galeazzo Maria Sforza
817:
749:Cristoforo Mantegazza
746:
690:Cristoforo Mantegazza
623:
615:
607:
600:Detail of the facade.
599:
561:
522:
427:
404:
303:
295:Giovannino de 'Grassi
269:
238:
3011:Royal Villa of Monza
2956:Ducal palace, Mantua
2079:Borlini 1963:332–33.
1538:Dream of Constantine
1403:(1567), the work of
1366:of the monastery of
1158:with the figures of
1124:Virgin of the Rosary
852:Gian Galeazzo Sforza
631:Bernardino de 'Rossi
551:and in 1789, by the
504:, Vigano Certosino,
3066: /
3036:Torrazzo of Cremona
2778:La Certosa di Pavia
2771:La Certosa di Pavia
2722:on 7 September 2022
2608:"Immagini in Canto"
2507:on 8 September 2022
2447:on 7 September 2022
2272:on 8 September 2022
2242:on 7 September 2022
2131:on 27 February 2023
1542:Ambrogio Bergognone
1515:Christ at the cross
1465:Bartolomeo Montagna
1397:Ambrogio da Fossano
1333:, now disappeared.
1266:, who, inspired by
1156:Alessandro Casolani
1078:Ambrogio da Fossano
827:Ambrogio Bergognone
820:Ambrogio Bergognone
725:Ambrogio Bergognone
698:Lombard Renaissance
673:. It is covered by
669:terminates with an
663:Gothic architecture
647:Gratiarum Chartusia
327:. The nave, in the
271:Ambrogio da Fossano
3001:Porta Nuova, Milan
2831:2012-07-12 at the
2562:on 12 October 2022
2387:on 3 November 2023
2357:on 13 October 2022
2100:on 3 November 2023
2025:"Certosa di Pavia"
1983:MARMORA et LAPIDEA
1732:MARMORA et LAPIDEA
1698:MARMORA et LAPIDEA
1525:, his second wife
1519:
1501:Giuseppe Vermiglio
1451:
1423:
1364:Vallombrosian monk
1355:
1351:Embriachi workshop
1296:
1294:The Grand Cloister
1260:
1236:Embriachi workshop
1224:
1198:
1116:
1042:
981:Madonna and Saints
949:
823:
777:Corinthian columns
753:
626:
618:
610:
602:
564:
525:
512:, Villareggio and
430:
407:
349:Cathedral of Pavia
317:
291:Fabbrica del Duomo
283:
245:
3049:
3048:
2946:Cremona Cathedral
2926:Cappella Colleoni
2748:on 9 October 2022
2696:on 9 October 2022
2552:"Sacrestia Nuova"
2477:on 9 October 2022
2437:"Altare Maggiore"
2212:on 9 October 2022
2057:Borlini 1963:325.
2048:Borlini 1963:324.
1905:on 13 August 2022
1385:Madonna and Child
1182:, Bergognone and
1136:Federico Borromeo
1062:Ercole Procaccini
1038:Cristoforo Solari
1028:Cristoforo Solari
1012:Benedetto Briosco
791:illustrating the
773:Benedetto Briosco
761:Guiniforte Solari
708:marble, stone of
694:Benedetto Briosco
657:, two aisles and
545:Emperor Joseph II
508:, Villamaggiore,
490:Torre del Mangano
428:The central nave.
415:Guiniforte Solari
357:Guiniforte Solari
309:Benedetto Briosco
207:Grande Chartreuse
169:Province of Pavia
145:
144:
3141:
3081:
3080:
3078:
3077:
3076:
3071:
3070:45.257°N 9.148°E
3067:
3064:
3063:
3062:
3059:
3026:San Siro Stadium
2936:Certosa di Pavia
2892:
2885:
2878:
2869:
2868:
2758:
2757:
2755:
2753:
2744:. Archived from
2738:
2732:
2731:
2729:
2727:
2718:. Archived from
2712:
2706:
2705:
2703:
2701:
2692:. Archived from
2686:
2680:
2679:
2677:
2675:
2670:on 19 April 2022
2656:
2650:
2649:
2647:
2645:
2629:
2623:
2622:
2620:
2618:
2604:
2598:
2597:
2595:
2593:
2588:on 30 April 2022
2584:. Archived from
2578:
2572:
2571:
2569:
2567:
2548:
2542:
2541:
2539:
2537:
2523:
2517:
2516:
2514:
2512:
2503:. Archived from
2493:
2487:
2486:
2484:
2482:
2473:. Archived from
2463:
2457:
2456:
2454:
2452:
2443:. Archived from
2433:
2427:
2426:
2424:
2422:
2413:. Archived from
2403:
2397:
2396:
2394:
2392:
2373:
2367:
2366:
2364:
2362:
2353:. Archived from
2343:
2337:
2336:
2334:
2332:
2327:on 19 April 2022
2323:. Archived from
2313:
2307:
2306:
2304:
2302:
2288:
2282:
2281:
2279:
2277:
2268:. Archived from
2258:
2252:
2251:
2249:
2247:
2238:. Archived from
2228:
2222:
2221:
2219:
2217:
2208:. Archived from
2198:
2192:
2191:
2189:
2187:
2182:on 30 April 2022
2178:. Archived from
2168:
2162:
2159:
2153:
2147:
2141:
2140:
2138:
2136:
2116:
2110:
2109:
2107:
2105:
2086:
2080:
2077:
2071:
2064:
2058:
2055:
2049:
2046:
2040:
2039:
2037:
2035:
2021:
2015:
2009:The Art Bulletin
2005:
1999:
1998:
1980:
1971:
1965:
1964:
1962:
1960:
1946:
1940:
1939:
1937:
1935:
1921:
1915:
1914:
1912:
1910:
1901:. Archived from
1891:
1885:
1878:
1872:
1871:
1869:
1867:
1862:on 19 April 2022
1858:. Archived from
1848:
1842:
1841:
1839:
1837:
1831:Certosa di Pavia
1823:
1817:
1816:
1814:
1812:
1806:Certosa di Pavia
1798:
1792:
1791:
1779:
1773:
1772:
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1748:
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1729:
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1655:
1654:
1652:
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1636:
1630:
1629:
1627:
1625:
1619:Certosa di Pavia
1611:
1546:Bernardino Luini
1485:Guglielmo Caccia
1481:Bernardino Luini
1443:Bernardino Luini
1381:Francesco Sforza
1316:Woman of Samaria
1300:Chiostro Piccolo
1276:Annibale Fontana
1246:The new sacristy
1213:Annibale Fontana
1202:Ludovico il Moro
1128:Milanese Baroque
1104:Francesco Sforza
1058:Federico Bianchi
859:Francesco Sforza
641:, a follower of
639:Bernardino Luini
582:Benito Mussolini
325:Carthusian Order
261:kingdom of Italy
249:Bernabò Visconti
163:, situated near
149:Certosa di Pavia
102:Certosa di Pavia
76:Year consecrated
38:
29:Certosa di Pavia
26:
25:
3149:
3148:
3144:
3143:
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3138:
3084:
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3074:
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3068:
3065:
3060:
3057:
3055:
3053:
3052:
3050:
3045:
2991:Monza Cathedral
2976:Milan Cathedral
2902:
2896:
2833:Wayback Machine
2822:
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2735:
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1613:
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1604:
1582:
1564:Beatrice d'Este
1558:Ludovico Sforza
1554:
1428:
1419:The Last Supper
1376:
1339:
1323:Chiostro Grande
1288:
1248:
1234:' ivory by the
1176:Zanetto Bugatto
1168:
1140:Ludovico Sforza
1108:Ludovico Sforza
1082:Francesco Cairo
1074:Dionigi Bussola
1050:Giuseppe Peroni
1020:Beatrice d'Este
1016:Ludovico Sforza
969:Francesco Cairo
902:Ludovico Sforza
898:Pietro Perugino
863:Ludovico Sforza
831:Bernardo Zenale
812:
804:Galeazzo Alessi
757:Giovanni Solari
616:The main altar.
594:
411:Giovanni Solari
287:Milan Cathedral
230:castle of Pavia
215:
41:
24:
17:
12:
11:
5:
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2996:Palazzo del Te
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2988:
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1405:Ottavio Semini
1395:attributed to
1375:
1372:
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1331:Vincenzo Foppa
1308:Daniele Crespi
1287:
1284:
1280:Andrea Solario
1272:Sistine Chapel
1247:
1244:
1209:Carrara marble
1194:Vincenzo Foppa
1180:Vincenzo Foppa
1167:
1164:
1148:Daniele Crespi
1144:Macrino d'Alba
1090:Vincenzo Foppa
973:Daniele Crespi
922:Eternal Father
914:Eternal Father
906:Eternal Father
811:
808:
755:The architect
729:Blessed Virgin
702:Carrara marble
679:Duomo of Milan
675:crossed vaults
593:
590:
577:in the 1960s.
369:Carrara marble
214:
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181:Visconti dukes
161:Northern Italy
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2898:Landmarks of
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2797:
2793:
2790:
2787:, New Press,
2786:
2782:
2780:, Milan, 1968
2779:
2775:
2772:
2769:L. Beltrami,
2768:
2767:
2747:
2743:
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2721:
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2417:on 1 May 2022
2416:
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2407:"Coro ligneo"
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2030:
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2013:
2010:
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1996:
1992:
1988:
1984:
1977:
1970:
1955:
1954:Arte Lombarda
1951:
1945:
1930:
1926:
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1528:
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1456:Luca Beltrami
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1398:
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1368:San Lanfranco
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1353:, 1400- 1409.
1352:
1347:
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1328:
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1318:at the Well.
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735:in Pavia and
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721:
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715:
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699:
695:
691:
687:
682:
680:
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660:
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653:plan, with a
652:
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632:
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614:
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589:
588:of the body.
587:
583:
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569:
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272:
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257:Lombard kings
254:
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241:Visconti Park
237:
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2931:Castelseprio
2812:
2806:
2799:
2795:
2784:
2777:
2770:
2750:. Retrieved
2746:the original
2736:
2724:. Retrieved
2720:the original
2710:
2698:. Retrieved
2694:the original
2684:
2672:. Retrieved
2668:the original
2663:
2660:"Refettorio"
2654:
2642:. Retrieved
2637:
2627:
2615:. Retrieved
2611:
2602:
2590:. Retrieved
2586:the original
2582:"Biblioteca"
2576:
2564:. Retrieved
2560:the original
2555:
2546:
2534:. Retrieved
2530:
2521:
2509:. Retrieved
2505:the original
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2475:the original
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2445:the original
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2415:the original
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2355:the original
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2240:the original
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2180:the original
2175:
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2129:the original
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2098:the original
2093:
2084:
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2044:
2032:. Retrieved
2028:
2019:
2011:
2008:
2003:
1986:
1982:
1969:
1957:. Retrieved
1953:
1944:
1932:. Retrieved
1928:
1919:
1907:. Retrieved
1903:the original
1898:
1889:
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1876:
1864:. Retrieved
1860:the original
1855:
1846:
1834:. Retrieved
1830:
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1809:. Retrieved
1805:
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1777:
1765:. Retrieved
1761:
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1731:
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1647:. Retrieved
1643:
1634:
1622:. Retrieved
1618:
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1514:
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1447:Saint Martin
1446:
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1400:
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1384:
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1356:
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1322:
1320:
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1297:
1268:Michelangelo
1264:Pietro Sorri
1261:
1249:
1232:hippopotamus
1225:
1206:
1199:
1169:
1159:
1152:Pietro Sorri
1123:
1117:
1085:
1066:Carlo Sacchi
1043:
1005:
1000:
996:
992:
989:Annunciation
988:
984:
980:
961:Il Morazzone
955:, panels by
952:
950:
940:
921:
913:
909:
905:
895:
890:
886:
885:(1490), and
883:St. Ambrose
882:
880:
875:
871:
856:
838:
824:
797:
792:
785:Brunelleschi
765:
754:
747:Antonio and
737:San Petronio
722:
683:
646:
627:
579:
571:
565:
542:
537:
534:
526:
438:
431:
408:
377:
344:
333:
329:Gothic style
318:
284:
274:
246:
226:Marco Solari
216:
195:Charterhouse
190:
189:
148:
146:
109:Architecture
3073: /
2986:Monte Isola
2752:7 September
2726:7 September
2700:7 September
2690:"Gipsoteca"
2617:7 September
2592:7 September
2536:7 September
2511:7 September
2481:7 September
2451:7 September
2421:7 September
2377:"Transetto"
2361:7 September
2331:8 September
2301:7 September
2276:7 September
2246:7 September
2216:7 September
2186:7 September
2135:27 February
2090:"Transetto"
2034:7 September
1989:: 169–183.
1959:7 September
1934:7 September
1909:7 September
1866:7 September
1852:"Vestibolo"
1836:7 September
1811:7 September
1767:7 September
1738:: 169–183.
1704:: 169–183.
1649:7 September
1401:Last Supper
997:St. Michael
953:Holy Father
891:Crucifixion
789:bas-reliefs
651:Latin cross
608:The portal.
549:Cistercians
510:Villanterio
466:Graffignana
259:and of the
253:Galeazzo II
205:in 1044 at
201:founded by
199:Carthusians
155:complex in
132:Renaissance
52:Affiliation
3088:Categories
3058:45°15′25″N
2971:Lake Garda
2764:References
2674:10 October
2644:2 November
2566:10 October
2391:10 October
2104:10 October
1790:: 219–275.
1473:Bramantino
1304:terracotta
1100:Bergognone
926:Bergognone
592:The church
553:Carmelites
482:Quintosole
478:Marcignago
458:Borgarello
311:, tomb of
3061:9°08′53″E
2966:Lake Como
2798:, 3.Ser.
1995:2724-4229
1899:Iccbc Cnr
1744:2724-4229
1710:2724-4229
1469:Ecce homo
1389:Zavattari
1374:Refectory
1184:Hans Witz
810:Paintings
706:Candoglia
530:Casteggio
506:Vigentino
502:Vidigulfo
470:Landriano
454:Boffalora
384:Malaspina
321:mausoleum
203:St. Bruno
153:monastery
136:Mannerism
2921:Bellagio
2900:Lombardy
2829:Archived
1827:"Storia"
1802:"Storia"
1580:See also
1527:Caterina
1120:Guercino
977:Perugino
965:Guercino
937:Perugino
887:San Siro
835:Bramante
766:In 1492
718:porphyry
659:transept
643:Leonardo
568:Napoleon
494:Trezzano
462:Carpiano
434:benefice
345:fabbrici
157:Lombardy
98:Location
93:Location
64:Province
57:Catholic
46:Religion
1624:29 July
1552:Burials
1517:(1575).
1421:(1567).
1360:Bergamo
1337:Library
1238:run by
1130:master
947:(1496).
781:cornice
714:Saltrio
710:Varenna
686:Lombard
667:chancel
514:Zeccone
498:Velezzo
474:Magenta
450:Binasco
446:Bernate
442:Battuda
380:Carrara
361:Binasco
213:History
191:Certosa
167:in the
140:Baroque
104:, Italy
40:Façade.
2809:, 1997
2791:, 1989
1993:
1742:
1708:
1672:
1467:, the
1327:Verona
1312:lavabo
912:. The
740:Monza.
665:. The
375:area.
373:Ossola
347:, the
341:Sforza
128:Gothic
117:Church
88:Active
85:Status
1979:(PDF)
1728:(PDF)
1694:(PDF)
1602:Notes
1499:, by
1491:, by
1487:, by
1228:ivory
1054:Parma
1052:from
392:Pavia
365:Pavia
275:Duke
185:Milan
173:Pavia
151:is a
123:Style
69:Pavia
2789:Como
2754:2022
2728:2022
2702:2022
2676:2022
2646:2023
2619:2022
2594:2022
2568:2022
2538:2022
2513:2022
2483:2022
2453:2022
2423:2022
2393:2022
2363:2022
2333:2022
2303:2022
2278:2022
2248:2022
2218:2022
2188:2022
2137:2023
2106:2022
2036:2022
1991:ISSN
1961:2022
1936:2022
1911:2022
1868:2022
1838:2022
1813:2022
1769:2022
1740:ISSN
1706:ISSN
1670:ISBN
1651:2022
1626:2022
1544:and
1230:and
1154:and
1010:and
987:. An
971:and
861:and
850:and
671:apse
655:nave
239:The
147:The
114:Type
80:1497
1503:.
1479:by
1471:by
1387:by
1270:'s
999:and
183:of
3090::
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2012:45
1981:.
1952:.
1927:.
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1854:.
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1788:25
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2250:.
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2139:.
2108:.
2038:.
1997:.
1987:2
1963:.
1938:.
1913:.
1870:.
1840:.
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