Ex Voto: An Account of the Sacro Monte Or New Jerusalem at Varallo-Sesia. With Some Notice of Tabachetti's Remaining Work at the Sanctuary of Crea |
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Adam and Eve admirable already angels Antonio appears artist ascribed Bargnola beautiful Bernardino Caimi Bordiga Bordiga says Caiaphas called Calvary chapel Carlo Christ church Colombo Crea cross Crowning with Thorns Crucifixion chapel doubt doubtless earlier edition of Caccia Entombment Fassola and Torrotti Fassola says Francesco fresco background Gaudenzio Ferrari Giacomo Ferro Giovanni Bellini Giovanni D'Enrico give given Holy Sepulchre Innocents chapel inscription inside the chapel Italian Jerusalem Joseph Journey to Calvary Leonardo da Vinci Madonna Magi chapel Maria Massacre Melchiorre Milan Milanese Morazzone mountain nevertheless Novara Orta painted painter Palazzo di Pilato Paracca perhaps Pietà Pilate portrait present probably referred Sacro Monte Scotto sculptor seen Sesia Signor Arienta Signor Galloni statues supposed Tabachetti Tabachetti's Journey Tanzio terra-cotta terra-cotta figures tion Torrotti say Valduggia Valsesian Valsolda Varallo Varese Vecchietto Vercelli Virgin Vision of St writers
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Page 7 - Reversing the famous axiom of Goldsmith's professional art-critic, we may say of Jonson's work in almost every instance that the picture would have been better if the artist had taken less pains. For in some cases at least he writes better as soon as he allows himself to write with ease — or at all events without elaborate ostentation of effort and demonstrative prodigality of toil. The unequalled breadth and depth of his reading could not but enrich as well as encumber his writings...
Page iii - Cr. 8vo., 7s. 6d. Ex VOTO. An Account of the Sacro Monte or New Jerusalem at Varallo-Sesia. Crown 8vo., los. 6d. SELECTIONS FROM WORKS, with Remarks on Mr. GJ Romanes' ' Mental Evolution in Animals,
Page 98 - Milan on 27th May 1596. The foregoing meagre notice is all that my space allows me to give concerning the life of this great master. I will conclude it with a quotation from Signor Morelli which I take from Sir Henry Layard's recent edition of Kugler's Hand-book of Painting (vol. ii, p. 424). Signor Morelli is quoted as saying: " Gaudenzio Ferrari is inferior to very few of his contemporaries, and occasionally, as in some of those groups of men and women in the great Crucifixion at Varallo, he might...
Page 99 - Ferrari was what Raphael is commonly believed to have been. I do not mean, that he was the prince of painters -such expressions are always hyperbolical; there has been no prince of painters; I mean that Gaudenzio Ferrari's feeling was profound, whereas Raphael's was at best only skin deep. Nevertheless Signor Morelli is impressed with Ferrari's greatness, and places him, " for all in all, as regards inventive genius, dramatic life, and picturesqueness ... far above Luini.
Page 95 - ... There is still a little relievo employed in the fresco background, but not nearly so much as in the church of S. Maria delle Grazie, and the increase of freedom is so evident that it is difficult not to suppose an interval of a good many years between the two works. I gather that by the year 1 5 20 Gaudenzio had abandoned the use of gold and of relievo in painting, but he may have made an exception in the case of a work which was to consist both of sculpture and painting; and there is indeed...
Page 72 - Tabachetti's Journey to Calvary, with its forty life-size figures and nine horses, is of such superlative excellence as regards composition and dramatic power, to say nothing of the many admirable individual figures comprised in it, that it is not too much to call it the most astounding work that has ever been achieved in sculpture.
Page 72 - Medicean chapel errs on the side of over-subtlety, refinement, and the exaggerated idealism from which indeed there is but one step to the barocco, so does Tabachetti's on that of over-downrightness, or, as a critic with a cultivated eye might say, with perhaps a show of reason at a first glance, even of vulgarity. Nevertheless, if I could have my choice whether to have created Michael Angelo's chapel or Tabachetti's, I should not for a moment hesitate about choosing Tabachetti's, though it drove...
Page 17 - ... through inability to at once understand and enter into the conventions rendered necessary by the conditions under which works so unfamiliar to him must be both executed and looked at, has failed to notice the existence of Tabachetti, never mentioning his name nor referring to one of his works -not even to the Madonna and Child in the church of S. Gaudenzio, which one would have thought could hardly fail to strike him. Mr. King has elsewhere in his work referred both to Lanzi and to Lomazzo in...