Even now they are scarcely less stirring to the mind of a devout spectator than the scenes of a mediaeval Mystery may have been.
The Certosa of Pavia, lastly, is the centre of a school of sculpture that has little in common with the Florentine tradition.

Antonio Amadeo[113] and Andrea Fusina, acting in concert with Ambrogio Borgognone the painter, gave it in the fifteenth century that character of rich and complex decorative beauty which many generations of artists were destined to continue and complete.

Among the countless sculptors employed upon its marvellous facade Amadeo asserts an individuality above the rest, which is further manifested in his work in the Cappella Colleoni at Bergamo.

We there learn to know him, not only as an enthusiastic cultivator of the mingled Christian and pagan manner of the _quattrocento_, but as an artist in the truest sense of the word sympathetic.

The sepulchral portrait of Medea, daughter of the great Condottiere, has a grace almost beyond that of Della Quercia's "Ilaria."[114] Much, no doubt, is due to the peculiarly fragile beauty of the girl herself, who lies asleep with little crisp curls clustering upon her forehead, and with a string of pearls around her slender throat.