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He founded that most wonderful of all convents, the Certosa of Pavia and the cathedral of Milan, 'which exceeds in size and splendor all the churches of Christendom. The palace in Pavia, which his father Galeazzo began and which he himself finished, was probably by far the most magnificent of the princely dwellings of Europe.
"Since, besides the other honours which we have paid to the illustrious Duchess of Ferrara, we are above all anxious to show her the most remarkable things in our domain, and since we count this our church and monastery to be among the chief of these, we write this to inform you that the said duchess will visit the Certosa on Wednesday next, on her return home.
Both Leonora and Isabella were anxious to see the Certosa, of which they had heard so much, on their way back to Pavia, and Lodovico, glad to do the honours of this famous abbey, in which he took a just pride, sent a courier with the following letter to inform the prior and brothers of the Duchess of Ferrara's visit:
But this is no better than most of the old stables of Florence, which are all solid vaulted caverns of immense size and strength. From the Porta Romana one may do many things take the tram, for example, for the Certosa of the Val d'Ema, which is only some twenty minutes distant, or make a longer journey to Impruneta, where the della Robbias are.
The other famous Certosa tomb is that of Cardinal Angelo Acciaioli, which, once given to Donatello, is now sometimes attributed to Giuliano di Sangallo and sometimes to his son Francesco.
It would be the work of a long summer's day to examine the over-loaded sculptures of the Certosa of Pavia; and yet in the tired last hour, you would be empty-hearted. Read but these inlaid jewels of Giotto's once with patient following; and your hour's study will give you strength for all your life.
Milan, it is true, produced a brilliant school of sculptors, and the Certosa of Pavia is a monument of her spontaneous artistic genius. But in painting, until the date of Lionardo's advent, she achieved little. See Vol. I., Age of the Despots, pp. 182-188, for the constitutional characteristics of Florence and Venice; and Vol.
Italian Gothic is almost entirely free from the taint of this barbarism until the Renaissance period, when it becomes rampant in the cathedral of Como and Certosa of Pavia; and at Venice we find the Renaissance churches decorated with models of fortifications like those in the Repository at Woolwich, or inlaid with mock arcades in pseudo-perspective, copied from gardeners' paintings at the ends of conservatories.
Jerome was little more than a copy of the same subject by Agostino Caracci, at the Certosa at Bologna, and he employed Perrier, one of his pupils, to make an etching from the picture by Agostino.
Fortunately, the news of this act of vandalism reached the ears of the Carthusians at Pavia, and remembering how much they owed to the Moro's generosity, they sent word to a Milanese citizen, Oldrado Lampugnano, to purchase the two marble statues for the Certosa.
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