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Modellers in clay produce the terra-cotta work of the Certosa, or the carola of angels who surround the little cupola behind the church of S. Eustorgio at Milan.
We had to pass through "Pavia of the Hundred Towers" after a look at the grand old Castello, and go out into Arcadian country again to reach the Certosa. Our way lay northward now instead of east, beside a canal bright as crystal, and blue as sapphire because it was a mirror for the sky.
At Assisi the Brothers Minor fought, and killed fourteen with a knife. And those of the Rose fought, and drove six away. Also, those of Certosa had great dissensions, and their General came and changed them all about. So all Religious everywhere seemed to have strife and dissension among themselves. And every Religious of whatever rule was oppressed and insulted by the world.
In the Certosa without Florence, likewise, he painted some pictures with good mastery; and in S. Michele in Pisa, a monastery of his Order, he painted some panels that are passing good.
The Virgin and Magdalen are very purely conceived figures; the idea of the angels gathering the blood falling from the wounded hands of the crucified Saviour is very tender; there is a great brightness of colouring, and a greenish landscape almost Peruginesque in feeling. Some of his pupils worked with him at the Certosa, and nearly brought their master into trouble.
In the quarters of one of the devotees, at the old monastery of the Certosa, at Florence, there lies, on a small table, an open book, in which visitors register.
The prior and brothers of the Certosa knew their own interest too well not to comply with this somewhat imperious missive, and left nothing undone which could gratify their illustrious guests.
Of all Borgognone's pictures in the Certosa, I should select the altar-piece of St. Siro with St. Lawrence and St. Stephen and two fathers of the Church, for its fusion of this master's qualities. The Certosa is a wilderness of lovely workmanship.
But if I could build a temple for God, and just live somewhere near it so as to be the poor woman who sweeps out the chapels, and die perhaps and be buried under its floor! Don't smile at me. I mean every word of it. Years ago I thought of such a thing. After I had visited the Certosa di Pavia do you know it? So beautiful, and those two still alabaster figures recumbent.
There is no mistaking the long black hair, the refined features, and long nose of the Moro, while in Beatrice's features we recognize the same youthful and child-like charm that mark her countenance in Cristoforo Romano's bust or Solari's effigy in the Certosa of Pavia. Luzio-Renier, op. cit., p. 630.
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