“One thing prominently taught us by the works of Leonardo and Raffaelle, of Michael Angelo and Titian, is distinctly this—that purity of morals, freedom of institutions, and sincerity of faith have nothing to do with excellence in art.”
I should prefer to say, that if the works of the four artists above mentioned show one thing more clearly than another, it is that neither power over line, nor knowledge of form, nor fine sense of colour, nor facility of invention, nor any of the marvellous gifts which three out of the four undoubtedly possessed, will make any man’s work live permanently in our affections unless it is rooted in sincerity of faith and in love towards God and man. More briefly, it is ἀγάπη, or the spirit, and not γνώσις, or the letter, which is the soul of all true art. This, it should go without saying, applies to music, literature, and to whatever can be done at all. If it has been done “to the Lord”—that is to say, with sincerity and freedom from affectation—whether with conscious effusion, as by Gaudenzio, or with perhaps robuster unconsciousness, as by Tabachetti, a halo will gather round it that will illumine it though it pass through the valley of the shadow of death itself. If it has been done in self-seeking, as, exceptis excipiendis, by Leonardo, Titian, Michael Angelo, and Raffaelle, it will in due course lose hold and power in proportion to the insincerity with which it was tainted.
CHAPTER II.
THE REV. S. W. KING—LANZI AND LOMAZZO.
Leaving Sir Henry Layard, let us turn to one of the few English writers who have given some attention to Varallo—I mean to the Rev. S. W. King’s delightful work “The Italian Valleys of the Pennine Alps.” This author says—
“When we first visited Varallo, it was comparatively little known to travellers, but we now found that of late years many more had frequented it, and its beautiful scenery and great attractions were becoming more generally and deservedly appreciated. Independently of its own picturesque situation, and its advantages as head-quarters for exploring the neighbouring Vals and their romantic scenery, the works which it possesses of the ancient and famous Val Sesian school of painters and modellers are most interesting. At the head of them stands first and foremost Gaudenzio Ferrari, whose original and masterly productions ought to be far more widely known and studied than they as yet are; and some of the finest of them are to be found in the churches and Sacro Monte of Varallo” (p. 498).
Of the Sacro Monte the same writer says—
“No situation could have been more happily chosen for the purpose intended than the little mountain rising on the north of Varallo to a height of about 270 feet”—[this is an error; the floor of the church on the Sacro Monte is just 500 feet above the bridge over the Mastallone]—“on which the chapels, oratories, and convents of that extraordinary creation the New Jerusalem are grouped together. Besides the beauty of the site and its convenient proximity to a town like Varallo of some 3000 inhabitants, the character of the mountain is exactly adapted for the effective disposition of the various ‘stations’ of which it consists”—[it does not consist of “stations”]—“and on this account chiefly it was selected by the founder, the ‘Blessed Bernardino Caimo.’ A Milanese of noble family, and Vicar of the Convent of the Minorites in Milan, and also in connection with that of Varallo, he was specially commissioned by Pope Sixtus IV. to visit the Sepulchre and other holy places in Palestine, and while there took the opportunity of making copies and drawings, with the intention of erecting a facsimile of them in his native country. On his return to Italy in 1491, after examining all the likely sites within reasonable distance of Milan, he found the conical hills of the Val Sesia the best adapted for his design, and fixed upon Varallo as the spot; being probably specially attracted to it from the fact of the convent and church of Sta. Maria delle Grazie, already described, having been conveyed through him to the ‘Minori Osservanti,’ as appears from a brief of Innocent VIII., dated December 21, 1486.”
Mr. King does not give the source from which he derived his knowledge of the existence of this act, and I have not come across a notice of it elsewhere, except a brief one in Signor Galloni’s work (p. 71), and a reference to it in the conveyance of April 14, 1493. But Signor Arienta of Varallo, whose industry in collecting materials for a history of the Sacro Monte cannot be surpassed, showed me a transcript from an old plan of the church of S. Maria delle Grazie, in which the inscription on Bernardino Caimi’s grave was given—an inscription which (so at least I understood Signor Arienta to say) is now covered by an altar which had been erected on the site of the grave. The inscription ran:—
“Hic quiescunt ossa B. Bernardini Caimis Mediolan. S. Montis Varalli Fundatoris An. 1486. Pontif. Dipl sub die 21 Xbris. Mortuus est autem in hoc coenobio An. Vulg. Æræ 1499.”
It would thus appear that the Sacro Monte was founded four years earlier than the received date. The formal deed of conveyance of the site on the mountain from the town to Bernardino Caimi was not signed till the 14th of April 1493; but the work had been already commenced, as is shown by the inscription still remaining over the reproduction of the Holy Sepulchre, which is dated the 17th of October 1491. Probably the work was contemplated in 1486, and interrupted by B. Caimi’s return to Jerusalem in 1487, not to be actively resumed till 1490.