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Murray (1847b) p.145 remarks on the ‘towering facade’ of Monza in ‘a very peculiar style of Gothic, built by Matteo di Campione (died 1396). It is quite perfect and unaltered, and therefore possesses peculiar value.’ It was heavily restored at the end of the nineteenth century.
See the comment in entry of 6th October at Notebook M2 p.2back:
Then further, observe, 1. b. [i.e the Gothic of Giotto] in its degradation, became the Gothic of Como: of the Certosa, of the Colleone at Bergamo: (and perhaps of Monza and Carrara - consider if there are not a two separate early school) and that not altogether ungracefully; because never having lost sight of the surface, the cinque cento work mixed naturally with the rest
For Ruskin’s views on these buildings in relation to Monza see his review of Lindsay (1847) at Works, 12.194 and following.
On the Certosa at Pavia see also Works, 8.50 and Works, 9.263.
On the Colleone Chapel in the Duomo at Bergamo see also Works, 8.51.
On the Duomo at Carrara see Works, 12.196 where Carrara and Monza are compared and the letter to his father of May 3rd, 1845, where the ‘church at Carrara’ is called a perfect gem of Italian Gothic (Works, 36.43 [n/a])
On the Duomo at Como see also Works, 9.44 and Works, 9.263.
Compare Ruskin’s views on the influence of classical forms in early Gothic at Notebook M p.9 and Notebook M p.10.
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[Version 0.05: May 2008]