ARCHITECTURE. 177 
which stand three statues with torches. The pedestal of the Sarcophagus is 
adorned in front and on the sides by seven statues which are intended for the 
Virtues, but look like Muses. Over the entablature which rests upon the 
Corinthian columns a high attic rises with a semicircular niche, in which St. 
John is represented leading the Doge to the Madonna and the child. At the 
side stands another Roman general or marshal, perhaps intended for St. 
Paul before his conversion. Upon both sides of the semicircular niche are 
reliefs which represent a kneeling angel and a praying female figure. How 
the crown of the whole is to be reconciled with the rest it is difficult to say. 
This crown represents two angels, terminating below like two sea-horses. 
They hold a wreath in which stands a boy with an apple. Over the crown 
is an urn, from which rises a flame. However beautiful the design and 
execution of this monument may be, it lacks the seriousness and above all 
the spiritual sentiment of a sepulchral monument. 
2. Pavia. A highly remarkable building, which if not designed and 
begun in this period, yet then received its magnificent facade, is the church 
near the charter-house in Pavia. Giovanni Galeazzo, who had poisoned 
his uncle, and was made duke by the German Emperor in 1395, doubt- 
less hoped to atone for his crime by building this church near the charter- 
house, Fhich had been built in 1376 under Galeazzo Visconti. Enrico of 
Gamondia (Henry of Gemiind, of whom we have already spoken) made 
the plan, and the work was commenced in 1396, but the fagade was 
arranged by the painter and architect Ambrogio Fossano in 1473; but 
unhappily overloaded with ornament it does not correspond to the large 
style of the interior. PJ. 42, jig. 6, represents the view of this church ; 
jigs. 7 and 8, Corinthian capitals of pilasters; jigs. 9 and 10, niches in 
which these capitals occur, and in them statues of the Apostle Paul and of 
St. Veronica; jigs. 11-14 a, consoles for statues; and jig. 146, a medallion 
with a portrait of Galeazzo. The church forms a Latin cross, occupies an 
area of 25,370 square feet (consequently 4 of the space of St. Peter’s), has 
three aisles, and many chapels. The width of the main aisle between the 
clustered columns, which are 73 feet thick, is 26 feet. The side aisles are 
10 feet between the pillars and the wall, and the side chapels are of the 
same depth. The main nave is 69 feet high, and to the key-stone of the 
dome over the intersection of the aisles is 107 feet. The main girt arches 
are pointed, but the side arches round. The arches of the vault over the 
choir are painted in ultramarine and have golden stars. The remaining 
vaults are also painted. The walls of the church are of brick, but the 
facade is ashlered with marble. Upon the buttresses of the side walls are 
little perforated towers. ‘The choir terminates in an apsis. upon which 
stands a colonnade gallery, whilst at the sides are two strong square but- 
tresses adorned with little towers, and similar ones stand at the apsides and 
in the corners of the transept. Before the side walls of the main building 
are vaulted arcades resting upon little columns behind the towers, and: form- 
ing a gallery, and a similar arcade runs around the church under the roof, 
appearing even upon the front facade. The various galleries one above 
another, the pyramidal reduction of the dome, the red natural color of the 
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