And now, having gone through the architectural antiquities of Pavia, I must conduct you to the Certosa, about five miles distant, and not much out of the road to Milan. It is here considered as one of the most beautiful buildings in the world; and may be cited to shew how much more effect the appearance of riches and splendour have on the judgment of the multitude than fine taste and elegant proportion. It was begun in 1396, a period at which several splendid ecclesiastical structures were raised in Italy. The cathedral of Milan; the church of S. Petronio at Bologna; and the church of S. Francesco at Assisi; are all nearly of this date. The architect is said to be the same Henry of Zamodia or Gamodia who designed the Duomo at Milan. Malaspina (_Guida di Pavia_) supposes it rather to have been built under the direction of a certain Marco di Campilione; who disputes also the honour of the cathedral at Milan, but this appears to be a mere guess. There is a bust of the architect within the building, but without name or date. The style of the two edifices is so different, as almost to preclude the possibility of their being the productions of one man; and the present offers no indication of the taste of our northern artists, while the cathedral above-mentioned abounds with them. The nave has four square divisions, each subdivided on the vault, and with oblique groins. The groining of the side aisles is singular, each space being in fact covered with five unequal pointed vaults, meeting in a common centre. Beyond the side aisles on each side, two chapels open towards each square division of the nave. The choir and arms of the cross have each two square divisions, so that there are seven on the whole length of the church, and five on that of the transept. The whole is in the highest degree rich with painting and gilding, and the orders[31] of the altars of the chapels of the side aisles are of the richest marbles, while the altars themselves are of inlaid work in precious stones. Nothing is neglected. Even the washing place of the monks is a magnificent marble monument. The tomb of the founder, John Galeazzo Visconti, is said to have been designed in 1490, and completed in 1562, which is the date mentioned in the inscription. Circumstances might induce us to expect here one of the finest productions of the _cinque cento_, but this is not the case. The ivy represented on a door jaumb just by is far more beautiful than any thing in the tomb. The outside of the flanks and transept of the building is full of pinnacles and ornaments, which do not rise naturally out of the construction of the building; but I examined the inside first, and to confess the truth, I was fairly tired out with the interminable splendour of the edifice: every little part seems to say, come and admire me. There are two large cloisters, one of which is of immense size, with marble columns, and a profusion of ornamental brick-work; and there is a spacious palace of later date, for the reception of visitors.