1253:, 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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1215:. 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.
304:(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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1161:. 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
707:. 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
1285:, 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
813:. 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
1222:, 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.
220:. 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.
366:. 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
239:, 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
1446:, 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.
1410:, 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
378:(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
1336:), 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
1551:. 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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370:, 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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877:, 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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1149:, who creates a work of refined elegance in delicate tones, in the elongated shapes and in the sweet expressions of the characters. The second chapel on the right houses another Renaissance masterpiece commissioned by
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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
692:. 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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405:. 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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770:, in building the double row of arcades down the flanks of the church, modified its appearance. After his death he was succeeded in Pavia by his son
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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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1936:"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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1099:. 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
374:, from where they continued by cart to the construction site, however, after the restoration of the section navigation between Binasco and
2025:.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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382:, 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
1651:"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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581:'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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475:(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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397:. 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
1075:(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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1394:. On the west wall of the hall is a small fresco, the oldest in the monastery, in the late Gothic style depicting a
1293:, one of the main representatives of the Leonardesque school that flourished in Milan after the master's departure.
432:, (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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1559:. There are also other rooms with sculptures, paintings and frescoes from the monastery and its construction site.
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656:. 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
362:, never acquired their own marble quarries, but always relied on private suppliers, often relying mainly on the
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1059:. 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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274:. Gian Galeazzo aspired to re-establish a new kingdom in Northern Italy, matching these historical examples.
2816:"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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2538:"Il trittico degli Embriachi nella Certosa di Pavia. Tecnologia costruttiva e intervento di restauro"
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806:. 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
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31:
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Erba, Luisa (1997). "Edifici di culto e agricoli nelle possessioni della Certosa (sec. XIV-XVIII)".
1079:. 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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1987:"L'approvvigionamento lapideo tra XIV e XV secolo nei cantieri del Duomo e della Certosa di Pavia"
1736:"L'approvvigionamento lapideo tra XIV e XV secolo nei cantieri del Duomo e della Certosa di Pavia"
1702:"L'approvvigionamento lapideo tra XIV e XV secolo nei cantieri del Duomo e della Certosa di Pavia"
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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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Description of the Charterhouse of Pavia Louis Marquis Malaspina Sannazaro (Milan, 1818)
2784:, 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
1153:: 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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on which the arch rests, the construction being derived from the Classical, used by
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Saint Catherine of Siena together with her homonymous Saint Catherine of Alexandria
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1095:(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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1961:"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
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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
904:(1490). Other works by Bergognone are now found in other museums of Europe.
2651:(in Italian). Ministero per i Beni e le Attività Culturali e per il Turismo
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1313:.) 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
786:(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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1133:. The seventh chapel on the left preserves an altarpiece depicting the
1025:, but completed only in 1562. The northern transept houses the tomb of
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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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presents the Virgin with the model of the Charterhouse, between
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731:(probably derived from architectural finds from the Roman age).
300:. However, relations between Gian Galeazzo and the heads of the
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554:
In 1782, the Carthusians were expelled from the Certosa by the
393:, such as the Maffioli, tenants of the quarries of the Marquis
383:
2677:. Ministero per i Beni e le Attività Culturali. Archived from
2642:
2569:. Ministero per i Beni e le Attività Culturali. Archived from
2394:. Ministero per i Beni e le Attività Culturali. Archived from
2107:. Ministero per i Beni e le Attività Culturali. Archived from
907:
The second chapel on the left houses the famous Altarpiece by
235:, commissioned the building of the Certosa from the architect
2787:
R. Bossaglia, M. G. Albertini Ottolenghi, F. R. Pesenti ed.,
1238:
1064:
931:. In place of the two tables scattered on either side of the
688:
on Gothic arches and is inspired, on a reduced scale, by the
402:
375:
195:
183:
1237:
The sacristy contains, among other treasures, a triptych in
1171:
God the Father with the Lamb and the Kings of the Apocalypse
2799:
1906:"LE PIETRE IMPIEGATE NELL'ARCHITETTURA MILANESE E LOMBARDA"
1402:. The lowered vault has the oldest decoration, including a
1325:
in stone and terracotta, with scenes of the Jesus with the
1037:, the statues generally being considered the masterwork of
681:
665:
2869:
Adrian Fletcher's Paradoxplace Certosa di Pavia Photo Page
595:
was discovered in the complex. Two Franciscan friars were
190:
a large hunting park and pleasure ground belonging to the
2837:
Pages Certosa on the site of the City of Certosa di Pavia
499:(where they also controlled the castle of San Colombano)
2077:
An annotation by the abbot Valerio, ca 1634–45, records
648:. On the sides, the saints Christopher and Sebastian by
3120:
Christian organizations established in the 14th century
2805:
R. Battaglia "Le "memorie" della Certosa di Pavia", in
2849:
Pages Certosa on the site of the Municipality of Pavia
1269:
The washbasin of the small cloister (about 1450-1475).
790:
which are each surmounted by a very strongly modelled
3145:
15th-century Roman Catholic church buildings in Italy
1597:
History of medieval Arabic and Western European domes
1436:
2645:"Immagini in canto. I corlai della Certosa di Pavia"
2138:(in Italian). Museo Certosa di Pavia. Archived from
573:
The Certosa di Pavia as seen from the Small Cloister
1769:"monastero di Santa Maria delle Grazie 1396 - 1782"
935:, the two panels with the Doctors of the Church by
660:, Charterhouse of Grace). The church is built on a
208:: a monastery of the cloistered monastic order of
2162:Pietro Perugino, including the Certosa Altarpiece
1181:The Certosa possesses an important collection of
3096:
1296:
1176:
296:In 1386, the people of Milan decided to rebuild
2130:Ministero per i Beni e la Attività Culturali.
1494:. There are also other paintings on canvas by
1051:, tomb of Ludovico Sforza and Beatrice d'Este.
883:Madonna and ss. Charles and Hugues de Grenoble
2894:
591:In August 1946 the illegally exhumed body of
1404:Madonna and Child and Prophets in Spectacles
782:involved. The classicist style portal is by
1679:. Milano: Mondadori. pp. 3–34, 68–99.
2922:Accademia Carrara di Belle Arti di Bergamo
2901:
2887:
1340:marble. There were once also paintings by
1067:(1757), while the fresco decoration is by
45:
3105:Roman Catholic churches completed in 1495
2908:
2826:, M. G. Albertini Ottolenghi, Milano 1998
1103:depicting Saint Catherine of Alexandria.
1091:. In the fifth chapel, the Altarpiece by
597:charged with assisting in the concealment
2864:Pro Loco Certosa di Pavia's Tourist page
2753:"Capolavori del museo e della gipsoteca"
1893:L'Architettura viscontea nel 15mo secolo
1516:
1448:
1420:
1355:
1300:
1264:
1228:
1199:
1105:
1043:
962:Other paintings in the church include a
942:
824:
753:
703:and Giovanni Antonio Amadeo himself and
630:
622:
614:
606:
568:
558:of Austria, and replaced in 1784 by the
529:
434:
411:
310:
276:
245:
27:Monastery and complex in Lombardy, Italy
1984:
1733:
1699:
290:donates the Charterhouse to the Madonna
14:
3097:
2794:R. V. Schofield, J. Shell, G. Sironi,
1674:
407:Veneranda Fabbrica del Duomo di Milano
364:Veneranda Fabbrica del Duomo di Milano
2882:
2874:Images of the Certosa di Pavia c.1860
2675:museo.certosadipavia.beniculturali.it
2567:museo.certosadipavia.beniculturali.it
2392:museo.certosadipavia.beniculturali.it
2136:museo.certosadipavia.beniculturali.it
2105:museo.certosadipavia.beniculturali.it
1940:Bulletin de correspondance hellénique
1145:, painter in the service of Cardinal
3125:Renaissance architecture in Lombardy
3115:14th-century establishments in Italy
2972:Galleria Vittorio Emanuele II, Milan
2796:Giovanni Antonio Amadeo/ I documenti
2643:Direzione Generale Musei Lombardia.
2508:"Trittico in avorio degli Embriachi"
1792:
1607:History of early modern period domes
1602:History of Italian Renaissance domes
900:(1491) and, most significantly, the
539:building (called Certosa Cantù), in
2992:Monastery of San Salvatore, Brescia
1256:
1113:, Coronation of the Virgin between
885:painted in 1617-18, as well as the
182:, 8 km (5.0 mi) north of
24:
2166:
1532:Room C preserves the portraits of
1437:The museum of the Certosa of Pavia
1029:, 7th Duke of Milan, and his wife
1002:has disappeared; three panels, the
986:, and a remnant of a polyptych by
919:, below the three tables with the
25:
3156:
2830:
1233:Detail of the wooden choir, 1497.
3140:Roman Catholic churches in Pavia
2478:"Candeliere di Annibale Fontana"
1004:Virgin Adoring the Infant Christ
401:, from where it then went up to
176:a small village of the same name
3130:Carthusian monasteries in Italy
2927:Basilica of Sant'Andrea, Mantua
2854:Website of the Certosa di Pavia
2745:
2719:
2693:
2663:
2636:
2611:
2585:
2555:
2530:
2500:
2470:
2440:
2410:
2380:
2350:
2320:
2295:
2265:
2235:
2205:
2175:
2154:
2123:
2093:
2084:
2071:
2062:
2053:
2028:
2012:
1978:
1953:
1928:
1898:
1885:
1855:
868:the coronation of Mary between
547:printing house (the first book
1830:
1805:
1786:
1761:
1727:
1693:
1668:
1643:
1618:
1488:Saint Martin and Saint Ambrose
204:is the Italian translation of
13:
1:
3110:1396 establishments in Europe
2774:
2727:"Palazzo Ducale. Primo Piano"
2358:"Polittico di Macrino d'Alba"
2081:(noted by Borlini 1963:325f.)
1626:"Cathedral (English Version)"
1506:, by Giuseppe Procaccini, by
1360:The triptych in ivory by the
1297:The Small and Grand Cloisters
1177:Stained glass and other works
881:'s Baroque masterpieces, the
762:, Saint John Baptist, facade.
602:
491:, Opera, Pairana, Pasturago,
354:. Unlike other large Lombard
3017:Rock Drawings in Valcamonica
2273:"Quinta cappella a sinistra"
2243:"Quarta cappella a sinistra"
1585:Isabella, Countess of Vertus
1384:
996:God the Father with cherubim
990:. Originally depicting the
820:
811:War of the League of Cambrai
711:architecture and is made of
231:, hereditary lord and first
30:For the Italian comune, see
7:
3032:San Michele Maggiore, Pavia
2213:"Terza cappella a sinistra"
2183:"Prima cappella a sinistra"
1590:
1251:Baldassarre degli Embriachi
1207:, Madonna, about 1475-1480.
1143:Pier Francesco Mazzucchelli
956:Certosa di Pavia Altarpiece
635:Lateral view of the facade.
534:The interior of the church.
10:
3161:
1562:
1347:
1019:Giovanni Cristoforo Romano
929:National Gallery in London
316:Giovanni Cristoforo Romano
223:
29:
2917:
2813:.1 (1992) pp. 85–198
2328:"Sesta cappella a destra"
2303:"Sesta cappella a destra"
1985:Gemelli, Filippo (2021).
1734:Gemelli, Filippo (2021).
1700:Gemelli, Filippo (2021).
1504:Giovanni Agostino da Lodi
342:, was completed in 1465.
132:
124:
119:
108:
103:
95:
85:
73:
61:
56:
44:
39:
32:Certosa di Pavia (comune)
2040:Lombardia Beni Culturali
1773:Lombardia Beni Culturali
1612:
1123:Giovanni Battista Crespi
1057:Carlo Francesco Nuvolone
1035:Santa Maria delle Grazie
968:Giovanni Battista Crespi
879:Giovanni Battista Crespi
829:Panel of St. Ambrose by
549:Breviarium Carthusiensis
3135:Monasteries in Lombardy
3052:Villa Toeplitz (Varese)
3027:Sacri Monti of Lombardy
2818:Annali di Storia Pavese
2623:Corali Certosa di Pavia
2132:"Polittico di Perugino"
1795:Annali di Storia Pavese
1471:Giovanni Antonio Amadeo
1444:Francesco Maria Richini
1137:, a masterpiece by the
1081:Giovan Battista Carlone
1012:St. Raphael with Tobias
952:God the Father blessing
911:, commissioned by Duke
887:Madonna and Saint Bruno
779:Gian Giacomo Dolcebuono
744:Santa Maria del Carmine
727:stone and Egyptian red
715:and to a lesser extent
430:Giovanni Antonio Amadeo
424:, continued by his son
350:and his successors the
2512:Museo Certosa di Pavia
2482:Museo Certosa di Pavia
2452:Museo Certosa di Pavia
2422:Museo Certosa di Pavia
2362:Museo Certosa di Pavia
2332:Museo Certosa di Pavia
2307:Museo Certosa di Pavia
2277:Museo Certosa di Pavia
2247:Museo Certosa di Pavia
2217:Museo Certosa di Pavia
2187:Museo Certosa di Pavia
1867:Museo Certosa di Pavia
1675:Grillo, Paolo (2017).
1580:Gian Galeazzo Visconti
1529:
1461:
1433:
1365:
1306:
1270:
1234:
1208:
1126:
1052:
959:
855:Filippo Maria Visconti
851:Gian Galeazzo Visconti
844:. A strong imprint of
833:
804:History of the Certosa
763:
646:Filippo Maria Visconti
636:
628:
620:
612:
574:
551:was printed in 1561).
535:
440:
417:
348:Gian Galeazzo Visconti
327:
324:Gian Galeazzo Visconti
293:
255:
229:Gian Galeazzo Visconti
3042:Stelvio National Park
2649:coralicertosapavia.it
1520:
1508:Stefano Maria Legnani
1452:
1424:
1359:
1304:
1268:
1232:
1203:
1183:stained glass windows
1109:
1047:
954:, upper panel of the
946:
859:Galeazzo Maria Sforza
828:
760:Cristoforo Mantegazza
757:
701:Cristoforo Mantegazza
634:
626:
618:
611:Detail of the facade.
610:
572:
533:
438:
415:
314:
306:Giovannino de 'Grassi
280:
249:
18:Charterhouse of Pavia
3022:Royal Villa of Monza
2967:Ducal palace, Mantua
2090:Borlini 1963:332–33.
1549:Dream of Constantine
1414:(1567), the work of
1377:of the monastery of
1169:with the figures of
1135:Virgin of the Rosary
863:Gian Galeazzo Sforza
642:Bernardino de 'Rossi
562:and in 1789, by the
515:, Vigano Certosino,
3077: /
3047:Torrazzo of Cremona
2789:La Certosa di Pavia
2782:La Certosa di Pavia
2733:on 7 September 2022
2619:"Immagini in Canto"
2518:on 8 September 2022
2458:on 7 September 2022
2283:on 8 September 2022
2253:on 7 September 2022
2142:on 27 February 2023
1553:Ambrogio Bergognone
1526:Christ at the cross
1476:Bartolomeo Montagna
1408:Ambrogio da Fossano
1344:, now disappeared.
1277:, who, inspired by
1167:Alessandro Casolani
1089:Ambrogio da Fossano
838:Ambrogio Bergognone
831:Ambrogio Bergognone
736:Ambrogio Bergognone
709:Lombard Renaissance
684:. It is covered by
680:terminates with an
674:Gothic architecture
658:Gratiarum Chartusia
338:. The nave, in the
282:Ambrogio da Fossano
3012:Porta Nuova, Milan
2842:2012-07-12 at the
2573:on 12 October 2022
2398:on 3 November 2023
2368:on 13 October 2022
2111:on 3 November 2023
2036:"Certosa di Pavia"
1994:MARMORA et LAPIDEA
1743:MARMORA et LAPIDEA
1709:MARMORA et LAPIDEA
1536:, his second wife
1530:
1512:Giuseppe Vermiglio
1462:
1434:
1375:Vallombrosian monk
1366:
1362:Embriachi workshop
1307:
1305:The Grand Cloister
1271:
1247:Embriachi workshop
1235:
1209:
1127:
1053:
992:Madonna and Saints
960:
834:
788:Corinthian columns
764:
637:
629:
621:
613:
575:
536:
523:, Villareggio and
441:
418:
360:Cathedral of Pavia
328:
302:Fabbrica del Duomo
294:
256:
3060:
3059:
2957:Cremona Cathedral
2937:Cappella Colleoni
2759:on 9 October 2022
2707:on 9 October 2022
2563:"Sacrestia Nuova"
2488:on 9 October 2022
2448:"Altare Maggiore"
2223:on 9 October 2022
2068:Borlini 1963:325.
2059:Borlini 1963:324.
1916:on 13 August 2022
1396:Madonna and Child
1193:, Bergognone and
1147:Federico Borromeo
1073:Ercole Procaccini
1049:Cristoforo Solari
1039:Cristoforo Solari
1023:Benedetto Briosco
802:illustrating the
784:Benedetto Briosco
772:Guiniforte Solari
719:marble, stone of
705:Benedetto Briosco
668:, two aisles and
556:Emperor Joseph II
519:, Villamaggiore,
501:Torre del Mangano
439:The central nave.
426:Guiniforte Solari
368:Guiniforte Solari
320:Benedetto Briosco
218:Grande Chartreuse
180:Province of Pavia
156:
155:
16:(Redirected from
3152:
3092:
3091:
3089:
3088:
3087:
3082:
3081:45.257°N 9.148°E
3078:
3075:
3074:
3073:
3070:
3037:San Siro Stadium
2947:Certosa di Pavia
2903:
2896:
2889:
2880:
2879:
2769:
2768:
2766:
2764:
2755:. Archived from
2749:
2743:
2742:
2740:
2738:
2729:. Archived from
2723:
2717:
2716:
2714:
2712:
2703:. Archived from
2697:
2691:
2690:
2688:
2686:
2681:on 19 April 2022
2667:
2661:
2660:
2658:
2656:
2640:
2634:
2633:
2631:
2629:
2615:
2609:
2608:
2606:
2604:
2599:on 30 April 2022
2595:. Archived from
2589:
2583:
2582:
2580:
2578:
2559:
2553:
2552:
2550:
2548:
2534:
2528:
2527:
2525:
2523:
2514:. Archived from
2504:
2498:
2497:
2495:
2493:
2484:. Archived from
2474:
2468:
2467:
2465:
2463:
2454:. Archived from
2444:
2438:
2437:
2435:
2433:
2424:. Archived from
2414:
2408:
2407:
2405:
2403:
2384:
2378:
2377:
2375:
2373:
2364:. Archived from
2354:
2348:
2347:
2345:
2343:
2338:on 19 April 2022
2334:. Archived from
2324:
2318:
2317:
2315:
2313:
2299:
2293:
2292:
2290:
2288:
2279:. Archived from
2269:
2263:
2262:
2260:
2258:
2249:. Archived from
2239:
2233:
2232:
2230:
2228:
2219:. Archived from
2209:
2203:
2202:
2200:
2198:
2193:on 30 April 2022
2189:. Archived from
2179:
2173:
2170:
2164:
2158:
2152:
2151:
2149:
2147:
2127:
2121:
2120:
2118:
2116:
2097:
2091:
2088:
2082:
2075:
2069:
2066:
2060:
2057:
2051:
2050:
2048:
2046:
2032:
2026:
2020:The Art Bulletin
2016:
2010:
2009:
1991:
1982:
1976:
1975:
1973:
1971:
1957:
1951:
1950:
1948:
1946:
1932:
1926:
1925:
1923:
1921:
1912:. Archived from
1902:
1896:
1889:
1883:
1882:
1880:
1878:
1873:on 19 April 2022
1869:. Archived from
1859:
1853:
1852:
1850:
1848:
1842:Certosa di Pavia
1834:
1828:
1827:
1825:
1823:
1817:Certosa di Pavia
1809:
1803:
1802:
1790:
1784:
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1641:
1640:
1638:
1636:
1630:Certosa di Pavia
1622:
1557:Bernardino Luini
1496:Guglielmo Caccia
1492:Bernardino Luini
1454:Bernardino Luini
1392:Francesco Sforza
1327:Woman of Samaria
1311:Chiostro Piccolo
1287:Annibale Fontana
1257:The new sacristy
1224:Annibale Fontana
1213:Ludovico il Moro
1139:Milanese Baroque
1115:Francesco Sforza
1069:Federico Bianchi
870:Francesco Sforza
652:, a follower of
650:Bernardino Luini
593:Benito Mussolini
336:Carthusian Order
272:kingdom of Italy
260:Bernabò Visconti
174:, situated near
160:Certosa di Pavia
113:Certosa di Pavia
87:Year consecrated
49:
40:Certosa di Pavia
37:
36:
21:
3160:
3159:
3155:
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3085:
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3071:
3068:
3066:
3064:
3063:
3061:
3056:
3002:Monza Cathedral
2987:Milan Cathedral
2913:
2907:
2844:Wayback Machine
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1593:
1575:Beatrice d'Este
1569:Ludovico Sforza
1565:
1439:
1430:The Last Supper
1387:
1350:
1334:Chiostro Grande
1299:
1259:
1245:' ivory by the
1187:Zanetto Bugatto
1179:
1151:Ludovico Sforza
1119:Ludovico Sforza
1093:Francesco Cairo
1085:Dionigi Bussola
1061:Giuseppe Peroni
1031:Beatrice d'Este
1027:Ludovico Sforza
980:Francesco Cairo
913:Ludovico Sforza
909:Pietro Perugino
874:Ludovico Sforza
842:Bernardo Zenale
823:
815:Galeazzo Alessi
768:Giovanni Solari
627:The main altar.
605:
422:Giovanni Solari
298:Milan Cathedral
241:castle of Pavia
226:
52:
35:
28:
23:
22:
15:
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1438:
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1416:Ottavio Semini
1406:attributed to
1386:
1383:
1349:
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1342:Vincenzo Foppa
1319:Daniele Crespi
1298:
1295:
1291:Andrea Solario
1283:Sistine Chapel
1258:
1255:
1220:Carrara marble
1205:Vincenzo Foppa
1191:Vincenzo Foppa
1178:
1175:
1159:Daniele Crespi
1155:Macrino d'Alba
1101:Vincenzo Foppa
984:Daniele Crespi
933:Eternal Father
925:Eternal Father
917:Eternal Father
822:
819:
766:The architect
740:Blessed Virgin
713:Carrara marble
690:Duomo of Milan
686:crossed vaults
604:
601:
588:in the 1960s.
380:Carrara marble
225:
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192:Visconti dukes
172:Northern Italy
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2909:Landmarks of
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2798:, New Press,
2797:
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2791:, Milan, 1968
2790:
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2780:L. Beltrami,
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2428:on 1 May 2022
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2418:"Coro ligneo"
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1966:
1965:Arte Lombarda
1962:
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1941:
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1376:
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746:in Pavia and
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664:plan, with a
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2942:Castelseprio
2823:
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2795:
2788:
2781:
2761:. Retrieved
2757:the original
2747:
2735:. Retrieved
2731:the original
2721:
2709:. Retrieved
2705:the original
2695:
2683:. Retrieved
2679:the original
2674:
2671:"Refettorio"
2665:
2653:. Retrieved
2648:
2638:
2626:. Retrieved
2622:
2613:
2601:. Retrieved
2597:the original
2593:"Biblioteca"
2587:
2575:. Retrieved
2571:the original
2566:
2557:
2545:. Retrieved
2541:
2532:
2520:. Retrieved
2516:the original
2511:
2502:
2490:. Retrieved
2486:the original
2481:
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2456:the original
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2426:the original
2421:
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2396:the original
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2366:the original
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2336:the original
2331:
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2306:
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2281:the original
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2251:the original
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2221:the original
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2191:the original
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2140:the original
2135:
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2109:the original
2104:
2095:
2086:
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2073:
2064:
2055:
2043:. Retrieved
2039:
2030:
2022:
2019:
2014:
1997:
1993:
1980:
1968:. Retrieved
1964:
1955:
1943:. Retrieved
1939:
1930:
1918:. Retrieved
1914:the original
1909:
1900:
1892:
1887:
1875:. Retrieved
1871:the original
1866:
1857:
1845:. Retrieved
1841:
1832:
1820:. Retrieved
1816:
1807:
1798:
1794:
1788:
1776:. Retrieved
1772:
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1742:
1729:
1712:
1708:
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1676:
1670:
1658:. Retrieved
1654:
1645:
1633:. Retrieved
1629:
1620:
1548:
1541:
1531:
1525:
1487:
1479:
1463:
1458:Saint Martin
1457:
1440:
1429:
1411:
1403:
1395:
1388:
1367:
1351:
1333:
1331:
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1308:
1279:Michelangelo
1275:Pietro Sorri
1272:
1260:
1243:hippopotamus
1236:
1217:
1210:
1180:
1170:
1163:Pietro Sorri
1134:
1128:
1096:
1077:Carlo Sacchi
1054:
1016:
1011:
1007:
1003:
1000:Annunciation
999:
995:
991:
972:Il Morazzone
966:, panels by
963:
961:
951:
932:
924:
920:
916:
906:
901:
897:
896:(1490), and
894:St. Ambrose
893:
891:
886:
882:
867:
849:
835:
808:
803:
796:Brunelleschi
776:
765:
758:Antonio and
748:San Petronio
733:
694:
657:
638:
590:
582:
576:
553:
548:
545:
537:
449:
442:
419:
388:
355:
344:
340:Gothic style
329:
295:
285:
257:
237:Marco Solari
227:
206:Charterhouse
201:
200:
159:
157:
120:Architecture
3084: /
2997:Monte Isola
2763:7 September
2737:7 September
2711:7 September
2701:"Gipsoteca"
2628:7 September
2603:7 September
2547:7 September
2522:7 September
2492:7 September
2462:7 September
2432:7 September
2388:"Transetto"
2372:7 September
2342:8 September
2312:7 September
2287:7 September
2257:7 September
2227:7 September
2197:7 September
2146:27 February
2101:"Transetto"
2045:7 September
2000:: 169–183.
1970:7 September
1945:7 September
1920:7 September
1877:7 September
1863:"Vestibolo"
1847:7 September
1822:7 September
1778:7 September
1749:: 169–183.
1715:: 169–183.
1660:7 September
1412:Last Supper
1008:St. Michael
964:Holy Father
902:Crucifixion
800:bas-reliefs
662:Latin cross
619:The portal.
560:Cistercians
521:Villanterio
477:Graffignana
270:and of the
264:Galeazzo II
216:in 1044 at
212:founded by
210:Carthusians
166:complex in
143:Renaissance
63:Affiliation
3099:Categories
3069:45°15′25″N
2982:Lake Garda
2775:References
2685:10 October
2655:2 November
2577:10 October
2402:10 October
2115:10 October
1801:: 219–275.
1484:Bramantino
1315:terracotta
1111:Bergognone
937:Bergognone
603:The church
564:Carmelites
493:Quintosole
489:Marcignago
469:Borgarello
322:, tomb of
3072:9°08′53″E
2977:Lake Como
2809:, 3.Ser.
2006:2724-4229
1910:Iccbc Cnr
1755:2724-4229
1721:2724-4229
1480:Ecce homo
1400:Zavattari
1385:Refectory
1195:Hans Witz
821:Paintings
717:Candoglia
541:Casteggio
517:Vigentino
513:Vidigulfo
481:Landriano
465:Boffalora
395:Malaspina
332:mausoleum
214:St. Bruno
164:monastery
147:Mannerism
2932:Bellagio
2911:Lombardy
2840:Archived
1838:"Storia"
1813:"Storia"
1591:See also
1538:Caterina
1131:Guercino
988:Perugino
976:Guercino
948:Perugino
898:San Siro
846:Bramante
777:In 1492
729:porphyry
670:transept
654:Leonardo
579:Napoleon
505:Trezzano
473:Carpiano
445:benefice
356:fabbrici
168:Lombardy
109:Location
104:Location
75:Province
68:Catholic
57:Religion
1635:29 July
1563:Burials
1528:(1575).
1432:(1567).
1371:Bergamo
1348:Library
1249:run by
1141:master
958:(1496).
792:cornice
725:Saltrio
721:Varenna
697:Lombard
678:chancel
525:Zeccone
509:Velezzo
485:Magenta
461:Binasco
457:Bernate
453:Battuda
391:Carrara
372:Binasco
224:History
202:Certosa
178:in the
151:Baroque
115:, Italy
51:Façade.
2820:, 1997
2802:, 1989
2004:
1753:
1719:
1683:
1478:, the
1338:Verona
1323:lavabo
923:. The
751:Monza.
676:. The
386:area.
384:Ossola
358:, the
352:Sforza
139:Gothic
128:Church
99:Active
96:Status
1990:(PDF)
1739:(PDF)
1705:(PDF)
1613:Notes
1510:, by
1502:, by
1498:, by
1239:ivory
1065:Parma
1063:from
403:Pavia
376:Pavia
286:Duke
196:Milan
184:Pavia
162:is a
134:Style
80:Pavia
2800:Como
2765:2022
2739:2022
2713:2022
2687:2022
2657:2023
2630:2022
2605:2022
2579:2022
2549:2022
2524:2022
2494:2022
2464:2022
2434:2022
2404:2022
2374:2022
2344:2022
2314:2022
2289:2022
2259:2022
2229:2022
2199:2022
2148:2023
2117:2022
2047:2022
2002:ISSN
1972:2022
1947:2022
1922:2022
1879:2022
1849:2022
1824:2022
1780:2022
1751:ISSN
1717:ISSN
1681:ISBN
1662:2022
1637:2022
1555:and
1241:and
1165:and
1021:and
998:. An
982:and
872:and
861:and
682:apse
666:nave
250:The
158:The
125:Type
91:1497
1514:.
1490:by
1482:by
1398:by
1281:'s
1010:and
194:of
3101::
2811:22
2673:.
2647:.
2621:.
2565:.
2540:.
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2480:.
2450:.
2420:.
2390:.
2360:.
2330:.
2305:.
2275:.
2245:.
2215:.
2185:.
2134:.
2103:.
2038:.
2023:45
1992:.
1963:.
1938:.
1908:.
1865:.
1840:.
1815:.
1799:25
1797:.
1771:.
1741:.
1711:.
1707:.
1653:.
1628:.
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1486:,
1456:,
1428:,
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399:Po
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2231:.
2201:.
2150:.
2119:.
2049:.
2008:.
1998:2
1974:.
1949:.
1924:.
1881:.
1851:.
1826:.
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1747:2
1723:.
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1689:.
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1639:.
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1197:.
1125:.
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292:.
34:.
20:)
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