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Updated: June 4, 2025
But it is none the less certain that the keynote of the whole music is struck by them, Amadeo, the master of the Colleoni chapel at Bergamo, was both sculptor and architect. If the façade of the Certosa be not absolutely his creation, he had a hand in the distribution of its masses and the detail of its ornaments.
"If The Riviera Sun ever suffers an eclipse, I shall probably end my days in a place like this, Pavia for choice, because then I can make my friends at home believe that I live here to worship the Certosa."
The Certosa of Pavia and the Duomo of Milan owed their foundation to his sense of splendor. At the same time he completed the palace of Pavia, which his father had begun, and which he made the noblest dwelling-house in Europe. The University of Pavia was raised by him from a state of decadence to one of great prosperity, partly by munificent endowments and partly by a wise choice of professors.
Gothard and Splügen, and in the distant east the peak of the Ortler. In the south the Certosa of Pavia is visible, and sometimes the towers and domes of the city itself, with the Apennines in the background. This, perhaps the grandest view in Europe, can only be seen to perfection on favourable days. I myself only saw a part of the great Alpine range, the rest was enshrouded in mist.
On Saturday the 21st the bridal party set out from Pavia, and, leaving the Certosa on the right, travelled across the Lombard plain to Binasco, where they spent the night at the feudal castle of the Visconti, the ruins of which may still be seen on the heights above the little town.
A local chronicler in the year 1494 mentions, in enumerating the palaces of the lords of the house of Este, the Palazzo del Cortile and Castle Vecchio as belonging to the duke; Castle Vecchio to Alfonso and the palace of the Certosa to Cardinal Ippolito.
The name of this great master is variously written Giovanni Antonio Amadeo, or Omodeo, or degli Amadei, or de' Madeo, or a Madeo pointing possibly to the town Madeo as his native place. Through a long life he worked upon the fabric of the Milanese Duomo, the Certosa of Pavia, and the Chapel of Colleoni at Bergamo.
Another visitor, a citizen of Beatrice's own city of Ferrara, had also been at Pavia a few months before the Dominican friar, Girolamo Savonarola, who had visited the Certosa and Castello of Pavia on his way from Brescia to preach at Genoa, before he was summoned at Pico della Mirandola's request to begin his famous course of Lent sermons in St. Mark's of Florence.
In his eyes, as he said in the letter informing the Prior and brothers of Duchess Leonora's visit, the Certosa was the jewel of the crown, the noblest monument in the whole realm. The completion of the façade and the internal decoration of the great church and chapels was one of the objects that lay nearest to his heart.
At the Pieve of Giogoli, in a tabernacle that is on the high road, he painted Our Lady with two Angels; and in another tabernacle opposite to a mill of the Eremite Fathers of Camaldoli, which is on the Ema, beyond the Certosa, he painted many figures in fresco.
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