The Certosa di Garegnano is also known as the Certosa di Milano and was founded on 19 September 1349 by Giovanni Visconti, archbishop and lord of the city. The structure stood just four kilometers west of the city walls of Milan in the then rural village of Garegnano, and in the summer of 1357, it hosted Francesco Petrarca. The works for the construction of the monastery were largely completed by 1352 and during the fourteenth century, Luchino Visconti made substantial donations to the factory of the Certosa so that it could be expanded and new altars built. The Certosa complex was almost completely rebuilt under the direction of the architect Vincenzo Seregni, already in charge of the Fabbrica del Duomo, starting in the 1570s. In particular, Seregni was responsible for the Cortile dell'Elemosina, the Cortile d'Onore, the Great Cloister, the Cloister of the Foresteria and the restructuring of the church, once clearly divided into two areas, one intended for monks, the other for lay brothers. In later times the Charterhouse hosted illustrious personalities of the political and religious life of the time such as San Bernardino of Siena, San Carlo Borromeo and Philip IV of Spain.
The main entrance leads to the Cortile dell'Elemosina, the only area of the convent once open to all, consisting of a sober classical portico, enclosed by an arch which gives access to the Cortile d'Onore in front of the church. The abbey church was reworked in late Renaissance forms starting from 1562. The facade has modules mixed between the Renaissance and Baroque styles composed of many statues, obelisks, friezes and flames. Inside, in the apse area, the ceiling is dominated by an octagonal lantern, while the whole church (by Vincenzo Seregni), has a single nave with a barrel vault and geometric stuccos. The fresco decoration is famous, consisting of two distinct pictorial cycles, the first by the mannerist Simone Peterzano, master of the famous Caravaggio (1578) and the second by the greatest interpreter of the Milanese Baroque of the full seventeenth century, Daniele Crespi. The pictorial decoration of the presbytery was entrusted to Peterzano in 1578, with scrupulous indications about the subjects to be represented and the style to be used, in strict compliance with the Instructiuonum fabricae et Supellectilis ecclesiasticae issued by Archbishop Carlo Borromeo.
The stories from the life of San Bruno are a cycle of frescoes by Daniele Crespi. The cycle, bearing the story of San Bruno and the foundation of the Carthusian order, was completed, as indicated in the autograph in the first left lunette, in 1629. The last important decorative intervention in the church is the construction of the chapel known as the Rosary, built around 1770 by the canon Biagio Bellotti. The rococo-style decoration integrates the frescoes that entirely cover the surface of the chapel and the architectural and ornamental elements such as the altar and the frames into a single whole. It is the result of the collaboration of Agrati, author of the frescoed quadratures, and of Bellotti, author of the figures. In the dome is the Glory of the Virgin, while the mysteries of the rosary are frescoed on the walls. The altar houses the painting Annunciation by Enea Salmeggia made in 1596.
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