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Journey through the site

The facade is emphasizing dramatic, often strained effect and typified by bold, curving forms, elaborate ornamentation, with its carved choirs and valuable altar. The big cloister is a huge rectangle, with a two-order portico of 84 arches, adorned by a central fountain.

The succession of the spaces corresponds exactly to its religious and administrative organization. A longest conventuale wall, equipped to

defense towards the outside, encloses not only the constructed structures, but also the green space where they were the gardens and the fields for cultivation. The granaries and stables were constructed and the rooms for lodging pilgrims were also found. The church is classified into uniform parts respective to the converged ones and the fathers. In this church, Women were not admitted and so outside of the Certosa, a second church for Women was constructed and it is open to all.

From the church fcto into the Certosa, there lies a place where important decisions are taken and in the Treasure precious relics were conserved.

The great rectangular space of the external court is delimited from four arms of factory.

This is a place used to establish and strengthen the contacts with the community to safeguard territory and economy and organize the collection of qualified labor and workers.

A document of 1734 talk about payments made to two painters Sardo and Francisco di Martino to have realized the landscapes in frescoes. The frescoes of the first room introduce decorated flowers and fourteen scenes drawn from gospels and arranged symmetrically.

The Church had its greater part of the time destined to communitarian life to sing the early riser and the Praises two times during the day. We find the Chorus of Converse and Chorus of Fathers here. The chorus of converse is used for communitarian purposes. The Chorus of Fathers prohibited common entry. The Chorus of Fathers finished in 1507 and composed from 24 stalls has figures of Martyrdoms, the four Bishops and the landscapes.

The Chorus of the Fathers has a cooked pavement decorated with episodes of New Testament. In 1857, the abolished burlaps namely the Vergine with Bambino, the martyrdom and the dead women were recommissioned through paintings.

Numerous silver furnishings are there in the Nail head of the Treasure conserved such as Michaelangelo’s. It has it decorated from putties and from it frescoes and that it contained of the closets in "most fine inlaid walnut of olive tree root, and of other woods with capricious design". The ivory cross was the cited in the XIX the century is known for its excellence of design and singular anatomical expression of the meats of the Christ and for the inimitable execution of the delicate one alloy and the drapery around the body.

In the certose the Cemetery occupied a limited area and the bodies are buried without coffins and so they decompose and the same place is used after ten years to bury. Few payment documents from 1742 attest that the restructured Chiostro of the ancient cemetery had garden with flowerbeds and plants ornament. The ancient cemetery was situated in a rather set apart place of the Certosa, outside of the main axis represented from the rectilinear distance. In the corridor of the Chiostro of the ancient cemetery the nail head is opened of the founder, Tommaso Sanseverino. Between the decorations of the nail head that of the monument, a representation of coat of arms is found.

The Refectory is where a common meal of Sunday is served. The payment documents (Invoice) belonging from 1734 to 1739, tell us that the jobs of the refectory were carried out with all the taste decorations late baroque. All the doors date back to 1737 and have marble decorations. The 61 stalls in Walnut cover the refectory.

The Kitchen is considered the organization that prepares the food to the inside of Certosa and in occasion of the arrival of external masters extraordinary lunches are provided in honor of visitors of the highest rank In 18th century, the kitchen had a massive restructuring of windows, roof and the ceiling and the door from pantry to the cemetery. The final restorations brought back the paintings representing the fathers of Certosa.

The Wine Cellars are for charters to have wine during meals, which is distributed with bread. The restructuring started in 1785.

The Chiostro of Proxies trains the fathers on the Economic patrimony and supervises the good functioning of the house and it is always taken care that the house never lacks in the self-sufficiency of the Fathers. To the center of the Chiostro one is found circular Fontana in stone adorned from a dolphin and animals and the flowerbeds, arranged symmetrically in simple and elegant way, delimit four

pyramids in stone. Even though there are no documents to talk about the restructuring, the decoration to putties continues from the northern arm of the porch in a corridor creating effective ends evocative cuts of light.

The Cells of the Priore was entrusted for civil jurisdiction when the feudal power was exercised on the peasants. The power of decisions was given to the captain. This is easily accessible to the servants and the strangers of the convent.

The Library that had continuous wall of closets in walnut, which had books, is all conserved now in National Library of Naples. The restructuring gave it with allegorical scenes that decorate as many windows of the Library.

The Large Chiostro and the Scalone runs 140 meters long and 149 meters wide, articulated with 84 pillars on which runs a stone decorated with martyrdom-inspired designs. The documents date back to 1583 talks about the new Chiostro featured with amplitude of dimensions and identical architectonic elements. The small cemetery and the fountain to the center of this structure date back to 1640.

The 24 Cells, constituted from a corridor placed immediately to the entrance, from two rooms that contain respective the hearth and the cubiculum

The Park was the common garden that spreads across to 800 meters, dates back to 1749 and had olive grove and oak wood cultivated. During the I World War, the site served as concentration camp of Austrian prisoners’. The barracks are arranged in the field and the designs are conserved in the Institute of History and Culture of the Engineers to Rome.