Chapter 2 - Page 2

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. AErae 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.

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"The first stone," says Mr. King, "was laid by Scarognini, a Milanese 'magnifico,' who cordially entered into the scheme; and at his expense the Holy Sepulchre was completed, and a hospice attached, where the founder and a number of Franciscan brothers came to reside in 1493. Caimo had planned a vast extension of this commencement, but died within three years, leaving his designs to be carried out by his successors."

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"Each oratory contains a group--in some very numerous--of figures modelled in terra-cotta the size of life or larger; many of them of great merit as works of art, others very inferior and mere rubbish. The figures are coloured and occasionally draped with appropriate clothing, the resemblance to life being heightened by the addition of human hair"--[which, by the way, is always horse-hair]--"and the effect is often very startling. Each chapel represents a different 'mystery,' and, beside the modelled figures, the walls are decorated with frescoes. The front of each is open to the air, all but a wire grating, through apertures in which the subject may be perfectly seen in the position intended by the designer" (pp. 510-512).

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Mr. King says, correctly, that Gaudenzio's earliest remaining work on the Sacro Monte is the Chapel of the Pieta, that originally contained the figures of Christ bearing the cross, but from which the modelled figures were removed, others being substituted that had no connection with the background. I do not know, however, that Christ was actually