In Milan, in the Church of Santa Maria delle Grazie, in the Ospedale Grande, and in the cathedral there is a wealth of sculpture to reward the student of this art who visits them; and in the Museum of the Breda there are many interesting works. The terra-cotta decoration of the Ospedale excels all other works of this sort in upper Italy, and the immense facade of this edifice is a marvel in its way (Figs. 89, 90). The differences between this hospital and the wonderful Milan Cathedral afford a remarkable contrast in works of the same period. GIOVANNI ANTONIO AMADEO, or OMODEO (1447-1520), was born on a farm near the Certosa of Pavia. When but nineteen years old his name appears as one of those who were employed upon this splendid edifice, and the records of his payments show that his work was well considered, even then. Omodeo was undoubtedly the best sculptor of his time in all Lombardy, and his sculptures in the Colleoni Chapel at Bergamo would be sufficient to make any artist famous. The whole work may be called his, for he designed the building and the sculptures of the facade, which are in the richest style of the Renaissance; there are statuettes, colonettes, busts, medallions, and bas-reliefs, and wherever a flat surface exists it is divided into diamond-shaped slabs of colored marbles. The portal is very much ornamented: on each side of the rose window above this entrance there are busts of Caesar and Augustus in contrast with numbers of angels' heads not far away. There are bas-reliefs representing children playing upon musical instruments, and the whole front of the chapel, with its numerous pilasters and colonettes, has been compared to a gigantic organ, by Mr. Perkins, in his "Italian Sculptors". Of the interior decoration we can only say that it is much in Omodeo's style, though the monument to Colleoni, the founder of the chapel, is said to be the work of German sculptors, and to have been done after Omodeo left Bergamo. At Pavia, Omodeo succeeded Guiniforte as chief architect of the Certosa, and designed the facade, which was made by him and his successors. The bas-relief of the Deposition from the Cross, which is on the front of the high-altar here, is the work of Omodeo. At Cremona and at Isola Bella he executed some monuments, but at length, in 1490, he began his work on the Cathedral of Milan. Here a cupola was commenced after his model and under his direction; but when it was partly done doubts of its solidity were expressed, and Omodeo was commanded to leave it and design the north door to the cathedral. He also constructed the spiral staircase leading to the roof through an elegant Gothic turret, where the medallion portrait of Omodeo may be seen. It has since been proved that the cupola of Omodeo was solid enough, for it has sustained the spire which was put upon it in 1772; but he was tormented concerning it in many ways, and died without justification.