I may perhaps be fanciful in thus tracing the character of the edifice to the tendencies of the order, for it must be owned that the present building dates no further back than the middle of the XVIIth century, and that S. Bruno, the founder of the order, probably never foresaw so magnificent an abode for his silent disciples. But those who have observed how, unless thwarted by unfavorable circumstances, every religious order in the church stamps its character upon all that pertains to it, will feel that there must have existed a synthesis between the inhabitants of San Martino and the place itself, and that the white‐robed Carthusians were in the very home which was specially appropriate to them, and in all ways suited their devotional and intellectual tendencies. And in proof of the above reflections it is well to remark that the beautiful pavement of the church was designed by a Carthusian. We had of course been acquainted with many of the valuable paintings in the monastery, so far as engravings could make us so, and thus we hailed the Deposition from the Cross, by Spagnoletto, which is in the sacristy, as an old friend, also the Baptism of our Lord, by Carlo Maratta, and many of Vaccaro’s and Cesari’s paintings. The sacristy and the chapter‐house are equally full of valuable pictures. It is impossible to exaggerate what must ever be the refining and elevating influence of such treasures of art, and such harmony and beauty, combined with a religious vocation of the highest order, heightened by the practice of silence and fostered by solitude.