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It remains the triumph of North Italian genius, exhibiting qualities of tenderness and self-abandonment to inspiration, which we lack in the severer masterpieces of the Tuscan school. To Borgognone is assigned the painting of the roof in nave and choir exceeding rich, varied, and withal in sympathy with stately Gothic style.
Then Ambrogio Borgognone decorated the roof of nave and apse, and designed the elaborate intarsiatura of these very choir-stalls to which Lodovico alludes in his letter to Isabella d'Este. And then the same Lombard master painted these frescoes and altar-pieces of grave saints and gentle Madonnas, which still adorn the side chapels with their solemn forms and rich golden harmonies.
Two great artists, Ambrogio Borgognone and Antonio Amadeo, are the presiding genii of the Certosa. To minute criticism, based upon the accurate investigation of records and the comparison of styles, must be left the task of separating their work from that of numerous collaborators.
The Certosa of Pavia, lastly, is the centre of a school of sculpture that has little in common with the Florentine tradition. Antonio Amadeo and Andrea Fusina, acting in concert with Ambrogio Borgognone the painter, gave it in the fifteenth century that character of rich and complex decorative beauty which many generations of artists were destined to continue and complete.
It remains the triumph of North Italian genius, exhibiting qualities of tenderness and self-abandonment to inspiration which we lack in the severer masterpieces of the Tuscan school. To Borgognone is assigned the painting of the roof in nave and choir exceeding rich, varied, and withal in sympathy with stately Gothic style.
Borgognone again is said to have designed the saints and martyrs worked in tarsia for the choir-stalls. His frescoes are in some parts well preserved, as in the lovely little Madonna at the end of the south chapel, while the great fresco above the window in the south transept has an historical value that renders it interesting in spite of partial decay.
In a word, Borgognone was a true Lombard of the best time. The very imperfection of his flesh-painting repeats in colour what the greatest Lombard sculptors sought in stone a sharpness of relief that passes over into angularity. This brusqueness was the counterpoise to tenderness of feeling and intensity of fancy in these northern artists.
However, being pressed by Vasari, he made his way to Rome on his journey to Naples; but he was detained by his brother Borgognone, who was likewise an exile, and who wished to take him to France to enter the service of the Colonel Giovanni da Turrino, and so that occasion was lost.
In a word, Borgognone was a true Lombard of the best time. The very imperfection of his flesh-painting repeats in color what the greatest Lombard sculptors sought in stone a sharpness of relief that passes over into angularity. This brusqueness was the counter-poise to tenderness of feeling and intensity of fancy in these Northern artists.
Isabella of Aragon and Beatrice d'Este Ambrogio Borgognone and Giovanni Antonio Amadeo Cristoforo Romano and his works at Pavia and Cremona The Certosa of Pavia Illness of Beatrice Her journey to Genoa Correspondence between Isabella and Lodovico Sforza Visit of the Marquis of Mantua to Milan.
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