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The sacristy has a lavabo in white marble; it has dolphin motifs and a shell-shaped washbasin, similar to other lavabos in Bahia of the same period.
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A 19th-century lavabo. Though ecclesiastical lavabos are ordinarily of metal, a familiar lavabo consists of a terra cotta tank with a faucet attached and a small basin below it. Today it is a common feature in many gardens in Europe and the U.S. as a decoration whose practical use has been long forgotten. The lavabo may be considered the forerunner of the modern sink.
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Under one of the arches on the north side there are two Roman sarcophagi that the canons once used as lavabos. The sarcophagi are one above the other, with the upper one being decorated, and the lower one plain. Water flowed from the upper to the lower, and then out a channel to the cloister garden. Behind the sarcophagi there is a door that leads to the canons' refectory.
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Born in Florence, Robbia was the son of Marco della Robbia, whose brother, Luca della Robbia, popularized the use of glazed terra-cotta for sculpture. Andrea became Luca's pupil, and was the most important artist of ceramic glaze of the times. He carried on the production of the enamelled reliefs on a much larger scale than his uncle had ever done; he also extended its application to various architectural uses, such as friezes and to the making of lavabos, fountains and large retables. One variety of method was introduced in his enamelled work.
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In illuminated manuscripts like the Tres Riches Heures du Duc de Berry (1411–1416), the Garden of Eden was shown with a graceful gothic fountain in the center (see illustration). The Ghent Altarpiece by Jan van Eyck, finished in 1432, also shows a fountain as a feature of the adoration of the mystic lamb, a scene apparently set in Paradise. The cloister of a monastery was supposed to be a replica of the Garden of Eden, protected from the outside world. Simple fountains, called lavabos, were placed inside Medieval monasteries such as Le Thoronet Abbey in Provence and were used for ritual washing before religious services.
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The church was renamed Sant'Anna dei Lombardi in 1805. An Adoration of the Shepherds by a follower of Vasari was moved to its present position above the door in the counter-facade during the 17th century. The two side lunettes contain sculptures of the archangel Gabriel and the Virgin Mary, attributed to Giovan Battista Cavagna and resting on two marble lavabos leaning against the walls Cesare Cundari, Arnaldo Venditti, Il complesso di Monteoliveto, Gangemi, 1999. The central nave vault is divided into three quadrants, showing personifications of Faith, Religion and EternityLa Repubblica It is accompanied along the walls by 17th century furniture decorated with a cycle of precious wooden inlays by Fra Giovanni da Verona dating to 1506 (the third cycle after those of Santa Maria in Organo in Verona and the Territorial Abbey of Monte Oliveto Maggiore near Asciano) with views of the city and scenes of life in the Olivetan order.
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