MILAN AND PAVIA.
In Milan two buildings at least belong to the early Renaissance. These are the sacristy of Sta. Maria presso San Satiro, and the eastern portion of the church of Sta. Maria delle Grazie; Bramante was the architect of both. The last-named work is an addition to an existing Gothic church; it is executed in the terra-cotta and brick of Lombardy, materials which the Renaissance architects seemed to shun in later times, and is full of the most profuse and elegant ornaments. The design consists of a dome, treated externally a little like some of the Lombard domes of earlier date; and three apses forming choir and transepts. It is divided into several stages, and abundantly varied in its panelling and arcading, and is full of vigour. By Bramante is also the very beautiful arcaded quadrangle of the great hospital at Milan, the Gothic front of which has been already noticed. There are many Renaissance buildings of later date in Milan, but none very remarkable.
Fig. 69.—The Certosa near Pavia. Part of the West Front. (Begun by Borgognone 1473.)
To the early period belongs the design of the façade of the Certosa near Pavia, part of which is shown (Fig. [69]). This was begun as early as 1473, by Ambrogio Borgognone, and was long in hand. It proceeded on the lines settled thus [!-- original location of Fig. 69 --] early, and is probably the richest façade belonging to any church in Christendom; it is executed entirely in marble. Sculpture is employed to adorn every part that is near the eye, and especially the portal, which is flanked by pilasters with their faces panelled and occupied by splendid alti relievi. The upper part is enriched by inlays of costly marbles, but the two systems of decoration do not thoroughly harmonise; for the upper half looks coarse, which it in reality is not, in contrast with the delicate richness of the carving near the eye. The great features, such as the entrance, the windows, and the angle pinnacles are thoroughly good, and an arcade of small arches is twice introduced,—once running completely across the front at about half its height, and again near the top of the central portion,—with excellent effect (see [Frontispiece]).