After passing Faido the scenery becomes, if possible, more beautiful, and at Bellinzona, the capital of the Canton, we saw our beau-ideal of Italian landscape. From a distance especially Bellinzona is very striking, with its three castles and fine 16th century Abbey church; though when one approaches it more closely, like so many Italian towns, it is slightly disappointing.
As we approach Lugano, the mountains become less elevated, but the soil far more rich and fertile, and the olive and aloe, so characteristic of Italian landscape, are to be seen.
About an hour before reaching Lugano both of us began to feel unwell and very irritable from the continual travelling; the younger of us especially so, as he was rapidly developing an attack of his horrible complaint—indigestion.
On arriving at Lugano we drove in the Hotel Omnibus to the Hotel du Parc and ordered tea to be brought up into our room, after partaking of which we went to sleep until table d'hôte time. The dinner was, of course, the first we had tasted in Italy, and we cannot say that it impressed us favourably with Italian cooking. Everything was oily and rich, and suggested indigestion and biliousness. After dinner we strolled out of the hotel to get our impressions of the town of Lugano. The first thing we noticed was the beautiful Monte S. Salvatore, covered with verdure from base to summit; and then we admired the charming position and great picturesqueness of Lugano. Viewed from near the lake, and looking back on to the town, the number and variety of the Campanili, the flat-roofed houses scattered near the lake, and the hills covered with foliage, presented a most delightful scene. With the lake itself we were disappointed, the mountains struck us as being rather uniform and uninteresting; the shape of the lake also is not so beautiful as that of either Como or Maggiore, as we afterwards ascertained.
The interior of the town, with its arcades and quaint shops, so thoroughly Italian, pleased us very much, and we experienced to the full that delightful sensation of wandering about in a foreign town on a fine evening just after sunset.
The Hotel du Parc, at which we stayed, was formerly a monastery, and contains some rather interesting rooms and corridors. Near to this hotel is a small church thoroughly unnoticeable from the outside; but which contains three frescoes by Luini, one of which, the Passion, is not only the masterpiece of the painter, but one of the finest and best preserved frescoes in existence. And here we may say a few words about fresco painting, which is such a marked feature in the Italian churches and buildings. We do so, because some people, even those who ought to know better, are in the habit of describing any wall-painting as a fresco; whereas so many of the wall-paintings, especially in Italy, are not frescoes at all, but distemper paintings on a dry surface. The real fresco consists of painting upon plaster, while it is wet. The piece of plaster which is to be painted upon must be only sufficient for a single day's work—any that is left over must be cut away, and a fresh piece added for the next day's work. This accounts for the strongly indented lines which are really the joins in the plaster work.
The fresco of the Passion before alluded to covers the chancel arch of the little church, and is divided into two complete sections, representing various scenes from the Passion. This arrangement, by the way, is not at all uncommon in early Italian frescoes, and, although it has been severely criticised, there is no doubt that it often lends great richness to the composition, though occasionally, from the number of subjects depicted, and the absence of sky and foreground, it makes the painting appear confused and over-crowded. The first thing that strikes one in the work, is three crosses in the largest scale of the picture, which stand out apart from the rest. On the lower section are seen the holy women mourning for our Lord, and Roman soldiers on horseback, the former painted with great beauty and pathos—on this row also are St. John and a very vigorous group representing the executioners casting lots for the garments. Above are depicted various stages of the Passion, and the unbelief of Thomas—this last containing a most beautiful and dignified representation of Christ. Above both rows, on either side of the fresco, are two scenes; one being the agony in the garden, and the other the Ascension. Beneath, between the arches supporting the fresco, are SS. Sebastian and Roch, the former as fine as anything in the picture.
As Luini's great work is the most northern fresco of any importance, and is generally the first seen by the visitor to Italy, it serves as a kind of introduction to the art which distinguishes that glorious land.
(To be continued.)