Old and mendicant as he was, he was nothing daunted by the magnitude of the task before him, and searched Lombardy from one end to the other in his desire to provide Providence with a suitable abode. For a long while he sought in vain, and could find no place that was really like Jerusalem, but at last, towards the end of 1491, he came to Varallo alone, and had hardly got there before he felt himself rapt into an ecstasy, in the which he was drawn towards the Sacro Monte; when he got up to the plain on the top of the mountain which was then called "La Parete," perceiving at once its marvellous resemblance to Jerusalem, even to the existence of another mountain hard by which was like Calvary, he threw himself on the ground and thanked G.o.d in a transport of delight. It is said that for some time previously the shepherds who watched their flocks on this solitary height had been talking of nothing but of heavenly harmonies that had been heard coming from the sky; that Caimi himself while yet in the Holy Land had been shown this place in a vision; and that on reaching an eminence called Sceletta he had been conducted to the site itself by the song of a bird which sang with such extraordinary sweetness that he had been constrained to follow it.

I should have set this bird down as a blue rock thrush or pa.s.sero solitario, for I know these birds breed yearly on the Sacro Monte, and no bird sings so sweetly as they do, but we are expressly told that Caimi did not reach Varallo till the end of the year, and the pa.s.seri solitarii have all migrated by the end of August. We have seen, however, that Milano Scarrognini actually founded a chapel in October 1491, so Torrotti is wrong in his date, and Caimi may have come in 1490, and perhaps in August, before the pa.s.seri were gone.

There can be little doubt in fact that he came, or at any rate chose his site, before 1486.

Whatever the bird may have been, Caimi now communicated his design to the Consiglio della Vicinanza at Varallo, through Milano de'

Scarrognini, who was a member of the body, and who also gave support in money; negotiations were not finally concluded until the 14th of April 1493, on which day, as we have already seen, the site of the monastery of S. Maria della Grazie was conveyed to the Padri dell'

Osservanza with the concession of a right to build their New Jerusalem on the adjoining mountain--which they had already begun to do for some time past.

Divine a.s.sistance was manifest in the ease with which everything had been arranged, but Torrotti goes on to a.s.sure us that it was presently made still clearer. The design had been to begin with a reproduction of the Holy Sepulchre, and hardly had the workmen begun to dig for the foundation of this first work, when a stone was found, not only resembling the one which covered the actual Holy Sepulchre itself, but an absolute facsimile of it in all respects--as like it, in fact, or even more so, than Varallo was to Jerusalem. The testimony to this was so notorious, and the fact was so soon and widely known, that pilgrims flocked in crowds and brought gifts enough to bring the first abode of the Fathers with the chapel beside it to a speedy and successful completion. Everything having been now started auspiciously, and the Blessed Bernardino having been allowed to look, as it were, into the promised land, G.o.d took him to Himself on the 5th day of the Ides of February 1496, or--as I have above said that the inscription on Caimi's tomb declares--in 1499.

The churches, both the one below the mountain in which Gaudenzio's great series of frescoes may be still seen, and the one on the top, which stood on the site now occupied by the large house that stands to the right of the present church, and is called the Casino, were consecrated between the 5th and 7th days of September 1501, and by this time several of the chapels with figures in them had been taken in hand, and were well advanced if not completed.

Fa.s.sola's version of Bernardino Caimi's visit is more guarded than Torrotti's is. Before going on to it I will say here the little that need be said about Fa.s.sola himself. I find from Signor Galloni's "Uomini e fatti" (p. 208) that he was born at Ra.s.sa above Bucioleto in the Val Grande, on the 19th of September 1648. His family had one house at Ra.s.sa, and another at Varallo, which last is believed to have been what is now the hotel Croce Bianca, at which I always myself stay. Torrotti, in his preface, claims to have been one of his masters; he also says that Fa.s.sola was only eighteen when he wrote his work on the Sacro Monte, and that he had published a work when he was only fourteen. The note given by Signor Galloni [p. 233]

settles it that Fa.s.sola was born "anno D. 1648 die 19 septembris hora 22 min. 30," so that either the book lay some years unpublished, or he was over twenty when he wrote it. Like the edition of Caccia already referred to, it is dated a year later than the one in which it actually appeared, so that the present custom of post-dating late autumn books is not a new one. In the preface the writer speaks of his pen as being "tenera non tanto per talento quanto per l'eta." In the same preface he speaks of himself as having a double capacity, one as a Delegate to the governing body of the valley, and the other as a canon; but he must mean some kind of lay canon, for I cannot find that he was ever ordained. In 1672 he published his work "La Valsesia descritta," which according to Signor Galloni is more hastily written than his earlier work. On the 14th of December, the same year, he left the Valsesia and travelled to France, keeping a journal for some time, which Signor Galloni tells us still existed in 1873 in the possession of Abate Cav. Carestia of Riva Valdobbia. He went to Paris, and appears to have stayed there till 1683, when he returned to Varallo, and the Valsesia.

He found his country torn by faction, and was immediately hailed by all parties as the one man whom all could agree to elect as Regent General of the Valley. He was elected, and on the 5th of October convened his first general council of the Valsesia. He seems to have been indefatigable as an administrator during the short time he held office, but in the year 1684 was deposed by the Milanese, who on the 3rd of December sent a body of armed men to seize him and take him to Milan. He was warned in time to fly, and escaped to France, where according to some he died, while others say that he settled in Poland and there attained high distinction. Nothing, however, is known for certain about him later than the year 1684 or the beginning of 1685.

In 1686 Torrotti published his book. He says that Fa.s.sola during his regency repeatedly desired him "ripigliare questa relatione per commodita dei Pelegrini, Divoti, visitanti," and that so much new matter had come to light since Fa.s.sola's time that a new work was called for. Fa.s.sola, he says, even in the midst of his terrible misfortunes, continued to take the warmest interest in his native city, and in the Sacro Monte, where it appears he had been saluted by a very memorable and well-known miracle, which was so well known in Torrotti's time that it was not necessary to tell us what it was.

Fa.s.sola may or may not have urged Torrotti to write a second work upon the Sacro Monte, but he can hardly have intended him to make it little more than a transcript of his own book. If new facts had come to light they do not appear in Torrotti's pages. He very rarely adds to Fa.s.sola, and never corrects him; when Fa.s.sola is wrong Torrotti is wrong also; even when something is added I have a strong suspicion that it comes from Fa.s.sola's second book. On the whole I am afraid I regard Torrotti as somewhat of a plagiarist--at least as regards his matter, for his manner is his own and is very quaint, garrulous, and pleasing.

Fa.s.sola's work is full of inaccuracies, and of such inaccuracies as can only be explained on the supposition that the writer resided mainly at Ra.s.sa, wrote his book there, and relied too much upon notes which he did not verify after his work was written. Nevertheless, as Signor Galloni justly says, "he must be allowed the merit of having preserved an immense ma.s.s of matter from otherwise almost certain destruction, and his pages when subjected to rigid examination and criticism furnish abundant material to the writer of genuine history."

He leans generally much less towards the miraculous than Torrotti does. After saying, for example, that Bernardino Caimi had returned from Jerusalem in 1481 full of devotion and with the fixed intention of reproducing the Holy City on Italian soil, he continues:-

"With this holy intent the good ecclesiastic journeyed to the mountains of Biella, and thence to the Val d'Ossola, and thence to several places in the Valsesia, which of all others was the valley in which he was most inclined to unburden his mind of the treasure of his heroic design. Finally, arriving at Varallo, as the place of most resort, where most of those would come whose means and goodwill would incline them to works of piety, he resolved to choose the most suitable site that he could here find. According to some, while taking counsel with himself and with all who could help him, the site which we now adore was shown him in a vision; others say that on walking without the town he was seduced by the angelic warbling of a bird, and thus ravished to a spot where he found all things in such order for his design that he settled upon it then and there. Many hold as true the story of certain shepherds who about a fortnight earlier than the coming of the father, heard songs of more than earthly sweetness as they were keeping watch over their flocks by night."

"But," concludes Fa.s.sola, with some naivete considering the reserve he has shown in accepting any of the foregoing stories, "take it in whatever way you will, the inception of the place was obviously miraculous."

CHAPTER V. EARLY HISTORY OF THE SACRO MONTE.

Whether miraculous or not, the early history of the Sacro Monte is undoubtedly obscure, and the reader will probably have ere this perceived that the accounts given by Fa.s.sola and Torrotti stand in some need of reconstruction. The resemblance between Varallo and Jerusalem is too far fetched to have had any bona fide effect upon a man of travel and of affairs, such as Caimi certainly was; it is hardly greater than the famous one between Monmouth and Macedon; there is, indeed, a river--not to say two--at Varallo, and there is a river also only twenty-five miles off Jerusalem; doubtless at one time or another there have been crucifixions in both, but some other reason must be sought for the establishment of a great spiritual stronghold at the foot of the Alps, than a mere desire to find the place which should most remind its founder of the Holy City. Why this great effort in a remote and then almost inaccessible province of the Church, far from any of the religious centres towards which one would have expected it to gravitate? The answer suggests itself as readily as the question; namely, that it was an attempt to stem the torrent of reformed doctrines already surging over many an Alpine pa.s.s, and threatening a moral invasion as fatal to the spiritual power of Rome as earlier physical invasions of Northmen had been to her material power.

Those who see the Italian sub-alpine valleys of to-day as devoted to the Church of Rome are apt to forget how nearly they fell away from her in the sixteenth and seventeenth centuries, and what efforts, both by way of punishment and allurement, she was compelled to make before she could retain them in her grasp. In most of them the ferment caused by the introduction of the reformed doctrines was in the end stamped out; but in some, as in the Valle di Poschiavo, and the Val Bregaglia, Protestantism is still either the predominant creed or not uncommon. I do not mention the Vaudois valleys of Piedmont, for I am told these were Protestant before either Huss or Luther preached.

The Valsesians had ere now given proof of a tendency towards heresy, but they were a people whom it was worth while making every effort to retain. They have ever been, as we have seen it said already, a vigorous, st.u.r.dy, independent race, imbued, in virtue perhaps of their mixed descent, with a large share of the good points both of Southern and Northern nations. They are Italians; but Italians of the most robust and Roman type, combining in a remarkable degree Southern grace and versatility with Northern enterprise and power of endurance. It is no great stretch of imagination to suppose that Bernardino Caimi was alive to dangers that were sufficiently obvious, and that he began with the Val Sesia, partly as of all the sub-alpine valleys the one most imbued with German blood--the one in which to this day the German language has lingered longest, and in which, therefore, ideas derived from Germany would most easily be established--and partly because of the quasi-independence of the Val Sesia, and of its lying out of the path of those wars from which the plains of Lombardy have been rarely long exempt. It may be noted that the movement set on foot by Caimi extended afterwards to other places, always, with the exception of Crea, on the last slopes of the Alps before the plains of Lombardy and Piedmont begin. Varese, Locarno, Orta, Varallo, Oropa, Graglia, St. Ign.a.z.io, not to mention St. Giovanni di Andorno, have all of them something of the spiritual frontier fortress about them, and, I imagine, are all more or less directly indebted to the reformation for their inception.

Confining our attention to Varallo, the history of the Sacro Monte divides itself into two main periods; the first, from the foundation to the visit of S. Carlo Borromeo in 1678; the second, from the visit of S. Carlo to the present day. The first of these periods begins with 1486, in which year the present Sacro Monte was no doubt formally contemplated, if not actually commenced. That it was contemplated is shown by the inscription on Caimi's grave already given, and also by the first of the two deeds given in Signor Galloni's notes, from which it appears {2} that under the brief of December 21, 1486, Caimi had powers to take over the land now covered by the chapels, EVEN THOUGH HE SHOULD BE ABSENT--it being evidently intended that the land should be conveyed at once, and before he could return from Jerusalem, for which place he started in 1487.

Moreover, there remains one small chapel with frescoes that can hardly be later than 1485-1490. This is now numbered 45, and is supposed by many to be older even than Caimi's first visit. It may be so, but there is nothing to show that it actually was. I have seen a date scratched on it which it is said is 1437, but the four is really a five, which in old writing is often taken for a four, and the frescoes, which in their own way are of considerable merit, would be most naturally a.s.signed to about the date 1485-1490. I do not think there can be a doubt that we have in this chapel the earliest existing building on the Sacro Monte, but find it impossible to form any opinion as to whether it was in existence before Bernardino Caimi's time, or no.

In the second of the two deeds given by Signor Galloni (p. 85), the following pa.s.sage occurs:-

"Et similiter fecerunt ipsi Sindici, et Procuratores, ut supra introducendo ipsum Patrem Vicarium ut supra in Eremitorium sancti Sepulchri existent. in loco ubi dicebatur super pariete, aperiendo eidem ostia dicti Eremitorij, et dando eidem claues Ostiorum dicti eremitorij, et eum deambulari faciendo in eo, et similiter in Hortis dicti Eremitorij, dando eidem in gremium ut supra de terris, herbis, et frondibus, et lapidibus existen. in locis praedictis, et similiter in Capella existente subtus crucem, et in Capellam Ascensionis AEdificatam super Monte praedicto. Qui locus est de membris dicti Monasterii suprascripti."

Neither Signor Galloni, who pointed out this pa.s.sage to me, nor I, though we have more than once discussed the matter on the ground itself, can arrive at any conclusion as to what was intended by "the chapel now in existence under the cross," nor yet what chapel is intended by "the chapel of the Ascension on the said mountain." It is probable that there was an early chapel of the Ascension, and the wooden figure of Christ on the fountain in the piazza before the church was very likely taken from it, but there is no evidence to show where it stood.

Signor Arienta tells me that the chapel now occupied by the Temptation in the Wilderness was formerly a chapel of the Ascension.

He told me to go round to the back of this chapel, and I should find it was earlier than appeared from the front. I did so, and saw it had formerly fronted the other way to what it does now, but among the many dates scrawled on it could find none earlier than 1506, and it is not likely to have been built thirteen years before it got scrawled on.

Some hold the chapels referred to in the deed above quoted from to have included the present Annunciation, Salutation, and sleeping St.

Joseph block--or part of it. Others hold them to have referred to the chapels now filled by the Pieta and the Entombment (Nos. 40 and 41); but it should not be forgotten that by 1493 the chapels of S.

Francis and the Holy Sepulchre were already in existence, though no mention is made of them; and there may have been other chapels also already built of which no mention is made. Thus immediately outside the St. Francis chapel and towards the door leading to the Holy Sepulchre, there is a small recess in which is placed an urn of iron that contains the head of Bernardino Caimi with a Latin inscription; and hard by there is another inscription which runs as follows:-

"Magnificus D. Mila.n.u.s Scarrogninus hoc Sepulcrum c.u.m fabrica sibi contigua Christo posuit die septimo Octobris MCCCCLx.x.xXI. R. P.

Frater Bernardinus de Mediolano Ordinis Minorum de Observ. sacra hujus montis excogitavit loca, ut hic Hierusalem videat qui peragrare nequit."

We may say with some confidence that the present chapel No. 45, those numbered 40 and 41, the block containing the St. Francis and Holy Sepulchre chapels, and probably the Presepio, Adoration of the Shepherds, and Circ.u.mcision chapels--though it may be doubted whether these last contained the figures that they now do--were in existence before the year 1500. Part if not all of the block containing the Sta. Casa di Loreto, in which the Annunciation is now found, is also probably earlier than 1500, as also an early Agony in the Garden now long destroyed, but of which we are told that the figures were originally made of wood. Over and above these there was a Cena, Capture, Flagellation, and an Ascension chapel, all of which contained wooden figures, and cannot be dated later than the three or four earliest years of the sixteenth century. No wooden figure is to be dated later than this, for when once an oven for baking clay had been made (and this must have been done soon after Gaudenzio took the works on the Sacro Monte in hand) the use of wood was discarded never to be resumed.

According to both Fa.s.sola and Torrotti, the first chapel erected on the Sacro Monte was that of S. Francesco, with its adjacent reproduction of the Holy Sepulchre. According to Bordiga the first was the entombment, containing nine figures of wood, or, as the earlier writers say, eight. Bordiga probably means that the Entombment was the earliest chapel with figures in it, and the other writers that the St. Francis chapel was the first in which ma.s.s was said. These last speak very highly of the wooden figures in the Entombment chapel, and so more guardedly does Bordiga. I will return to them when I come to the present group of nine by Luigi Marchesi, a sculptor of Saltrio, which were subst.i.tuted for the old ones in 1826.

The early writers say that there was no fres...o...b..ckground to this chapel, and this suggests that the attempt to combine sculpture and painting was not part of the initial scheme, though soon engrafted on to it, inasmuch as this is the only chapel about which I find it expressly stated by early writers that it was without a fres...o...b..ckground ("senza pittura alcuna"). {3} Though there was no fres...o...b..ckground, Bordiga says there was a fresco painted, doubtless done very early in his career, by Gaudenzio Ferrari, outside the chapel just above the iron grating through which the visitor must look.

Probably the original scheme was to have sculptured figures inside the chapels, and frescoes outside; by an easy modification these last were transferred from the outside to the inside, and so designed as to form an integral part of the composition: the daring scheme of combining the utmost resources of both painting and sculpture in a single work was thus gradually evolved rather than arrived at per saltum. a.s.suming, however, the currently received date of 1503 or 1504 as correct for Gaudenzio's frescoes in the present Pieta chapel, the conception as carried out in the greater number of the existing chapels had then attained the shape from which no subsequent departure was made.

Returning to Gaudenzio's fresco outside the S. Francesco chapel, Bordiga says that Caccia gave the following lines on this work:-

"Sotto un vicino portico di fuore Portato a sepelir e di pittura Un Cristo; che non mai Zeuxi pittore Di questo finse piu bella figura, Che un San Francesco possa pareggiare, Pinto piu inanzi sopra d'un altare."

The reader will note that the fresco is here expressly stated to be "di fuore" or outside and not inside the chapel.

Both Fa.s.sola and Torrotti place this fresco on the outside wall of the chapel of St. Francis, but Bordiga is probably right in saying it was on the Entombment chapel. No trace of it remains, nor yet of the other works by Gaudenzio, which all three writers agree were in the S. Francesco chapel, though they must all have been some few years later than the chapel itself. These consisted of portraits of Milano Scarrognini with Father Beato Candido Ranzo Bernardino Caimi upon the gospel, or right, side of the altar, and of Scarrognini's wife and son with Bernardino Caimi, on the epistle side. According to Bordiga, Gaudenzio also painted a St. Anthony of Padua, and a St.

Helena, one on either side the grating. Inside the chapel over the altar was a painting of St. Francis receiving the stigmata, also by Gaudenzio. This is the only one of his works in or about the S.

Francesco chapel which still exists; it is now in the pinacoteca of the Museum at Varallo, but is not, so far as I could judge of it, one of his best pictures. The other works were in a decayed condition in 1703, when they were removed, and the chapel was redecorated by Francesco Leva, a painter of Milan.

The Crucifixion chapel of Gaudenzio Ferrari was begun and finished between 1520 and 1530. 1 have found three excellently written dates of 1529 scrawled upon the fres...o...b..ckground. One of them, "1529 Die 26 Octobre Johannes Antoninus," is especially clear, and the other two leave no doubt what year was intended. I have found no earlier date, but should not be surprised if further search were more successful. I may say in pa.s.sing that it seemed to me as though some parts of the scar made by the inscription had been filled with paint, while others had certainly not--as though the work had been in parts retouched, not so very long ago. I think this is so, but two or three to whom I showed what I took to be the new colour were not convinced, so I must leave others to decide the point.

The Magi chapel must be a.s.signed to some date between the years 1530 and 1539--I should say probably to about 1538, but I will return to this later on. Torrotti says that some of the figures on the Christ taken for the last time before Pilate (chapel No. 32) are by Gaudenzio, as also some paintings that were preserved when the Palazzo di Pilato was built, but I can see no sign of either one or the other now; nevertheless it is likely enough that several figures- -transformed as we shall presently see that d'Enrico or his a.s.sistants knew very well how to transform them--are doing duty in the Caiaphas, Herod, Pilate, and Ecce h.o.m.o chapels. So cunningly did the workmen of that time disguise a figure when they wanted to alter its character and action that it would be no easy matter to find out exactly what was done; if they could turn an Eve, as they did, into a very pa.s.sable Roman soldier a.s.sisting at the capture of Christ, they could make anything out of anything. A figure was a figure, and was not to be thrown away lightly.

Soon after the completion of the Magi chapel the work flagged in consequence of the wars then devastating the provinces of North Italy; nevertheless by the middle of the sixteenth century we learn from Torrotti that some nineteen chapels had been completed.

It is idle to spend much time in guessing which these chapels were, when Caccia's work, published in 1565, is sure to be found some day and will settle the matter authoritatively, but the reader will not be far wrong if he sees the Sacro Monte by the year 1550 as consisting of the following chapels: Adam and Eve, Annunciation, Salutation (?), Magi, Adoration of the Infant Jesus by the Shepherds, Adoration by Joseph and Mary, Circ.u.mcision, (but not the present figures nor fres...o...b..ckground), Last Supper, Agony in the Garden, Capture, Flagellation, Crowning with thorns (?), Christ taken for the last time before Pilate, the Original journey to Calvary, Fainting Madonna, Crucifixion, Entombment, Ascension, and the old church of the a.s.sumption of the Virgin Mary now removed. There were probably one or two others, but there cannot have been many.

In the 1586 edition of Caccia, a MS. copy of which I have before me, the chapels are given as follows: Adam and Eve, Annunciation, and Santa Casa di Loreto, Visit of Mary to Elizabeth, Magi, Joseph and Mary worshipping the Infant Christ, and the Adoration of Shepherds, {4} Circ.u.mcision, Joseph warned to fly, the chapel (but not the figures) of the Ma.s.sacre of the Innocents, Flight into Egypt Baptism, Temptation in the Wilderness, Woman of Samaria, the chapel (but not the figures) of the Healing of the Paralytic, and the Raising of the Widow's son at Nain, the Raising of Lazarus, Entry of Christ into Jerusalem, the Last Supper, Agony in the Garden, Capture, Flagellation, Crowning with Thorns, Christ carrying His cross to Calvary (doubtless Tabachetti's chapel), the Fainting of the Virgin, the earlier Journey to Calvary by Gaudenzio (now dispersed or destroyed), Crucifixion, Pieta, Holy Sepulchre, Appearance to Mary Magdalene (now no longer existing).

I should say, however, that I find it impossible to reconcile the two accounts of the journeys to Calvary, given in the prose introduction to this work, and in the poetical description that follows it, or rather to understand the topography of the poetical version at all, for the prose account is plain enough. I shall place a MS. copy of the 1586 edition of Caccia's book in the British Museum, before this present volume is published, and will leave other students of Valsesian history to be more fortunate if they can. Poetical descriptions are so far better than prose, inasmuch as there is generally less of them in a page, but on the whole prose has the advantage.

It would be interesting to see the 1565 and 1576 editions of Caccia, and note the changes and additions that can be found in them. The differences between the 1586 and 1590 editions (dated 1587 and 1591- the preface to the second being dated September 25, 1589), are enough to throw considerable additional light upon the history of the place, and if, as I believe likely, we find no mention of Tabachetti's Calvary chapel in the edition of 1576, nor of his other chapels, we should be able to date his arrival at Varallo within a very few years, and settle a question which, until these two editions of Caccia are found, appears insoluble. I must be myself content with pointing out these libri desiderati to the future historian.