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Updated: June 4, 2025
Then, to make our meal digest the better, directly after dinner we began to play at ball with great vigour and energy, and after we had played for some time we went over the palace, which is really very beautiful, and, among other things, contains a doorway of carved marble, as fine as the new works at the Certosa.
Lodovico, however, did not lose sight of the master, and in the following October, by his desire, the monks of the Certosa of Pavia engaged this popular artist to paint an altar-piece for one of their chapels.
Of all Borgognone's pictures in the Certosa I should select the altar-piece of S. Siro with S. Lawrence and S. Stephen and two Fathers of the Church, for its fusion of this master's qualities. The Certosa is a wilderness of lovely workmanship.
And this façade of the Certosa, more than any other architectural work of the age, bears the stamp of Lodovico Sforza's peculiar genius. Alike in the abundance of classical motives and in the amazing wealth of invention and infinite grace that inspired the whole conception, we recognize Lodovico's passionate love of the antique and minute attention to detail.
The Certosa has a few good pictures, but it is as a monastery that it is most interesting: as one of the myriad lonely convents of Italy, which one sees so constantly from the train, perched among the Apennines, and did not expect ever to enter.
He had afterwards been employed at Bergamo, where the Colleoni Chapel and the effigy of the great Condottiere's young daughter, the sleeping virgin Medea, still bear witness to his poetic invention and rare decorative skill. One of Lodovico's first acts after his return to Milan had been to recall Amadeo to Pavia, and in 1490, this gifted artist was appointed Capo maestro of the Certosa works.
This letter relating to the Certosa altar-piece and the gift to Leonardo were the last public acts in which the great Moro showed his love of art and generosity to artists. His fate was sealed, and already his foes were at the door. Before the end of May, King Louis and Cæsar Borgia came to Lyons, and Trivulzio descended upon Asti with fifteen thousand men.
Nothing, for instance, taken by itself alone, can be more satisfactory than the façade of the Certosa at Pavia; but it is not, like the front of Chartres or Rheims or Amiens, a natural introduction to the inner sanctuary.
Wherever architectural details, such as porticoes or columns, were introduced, these dropped the old designs of "pointed" style or battlements, and took on the classic or the high Renaissance that ornaments the façade of Pavia's Certosa.
After that trip to the Certosa he discontinued all Lombard studies, and, it is said, actually withdrew from publication a scathing article in which the West Germanic contingent were handled according to their deserts.
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