THE CERTOSA Of FLORENCE 
miserably inadequate to the grandeur of the design, 
and before the work was completed the artist died, 
worn out by his exertions and heart-broken at the 
failure of his attempts. All through his life he suffered 
from this ambition to imitate the work of greater men ; 
and Vasari says that the frescoes he painted at the 
Certosa were spoilt by an ineffectual attempt to follow 
the manner of Albert Diirer. Of this it is impossible 
to judge, for only the merest fragment of these works 
are now left. A graceful head or two, a bit of Andrea- 
like colouring here and there are all that remain to 
recall the memory of a painter worthy of a better- fate. 
Time has proved less destructive to the sculptor’s 
art, and besides the tombs of the Acciaiuoli, many 
specimens of Renaissance work are still to be seen at 
the Certosa. Luca della Robbia has left there some 
of his Saints and Angels in delicate blue and white, 
and in the refectory is a pulpit carved with the cross 
and crown of thorns by that sweetest of all Floren¬ 
tine sculptors, Mino da Fiesole. Donatello is said 
to have fashioned the tomb of Cardinal Angelo 
Acciaiuoli, who died in 1409. This monument was en¬ 
riched with a garland of fruit and flowers by a later 
master, Giuliano di San Gallo, the favourite architect 
of Lorenzo de’ Medici. In the Chapter-house, under 
Mariotto’s fresco, is another tomb, which must not 
be passed over, the work of Francesco di San Gallo, 
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