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Lake Parki Dectorum 04The Reformation, the Antipodes, the American Continent, the Planetary system, and the Infinite deep of the Heavens have now become common and familiar facts to us. Globes and orreries are the playthings of our school-days; we inhale the spirit of Protestantism with our earliest breath of consciousness; it is all but impossible to throw back our imagination into the time when, as new grand discoveries, they stirred every mind which they touched with awe and wonder at the revelation which God had sent down among mankind. Vast spiritual and material continents lay for the first time displayed, opening fields of thought and fields of enterprise of which none could conjecture the limit. Old routine was broken up. Men were thrown back on their own strength and their own power, unshackled to accomplish whatever they might dare. And although we do not speak of these discoveries as the cause of that enormous force of heart and intellect which accompanied them (for they were as much the effect as the cause, and one reacted on the other), yet at any rate they afforded scope and room for the play of powers which, without such scope, let them have been as transcendent as they would, must have passed away unproductive and blighted. The eighth chapel is that of the Sposalizio, is certainly not by Aureggio, and I should say was mainly by the same sculptor who did the Presentation in the Temple. On going inside I found the figures had come from more than one source; some of them are constructed so absolutely on Valsesian principles, as regards technique, that it may be assumed they came from Varallo. Each of these last figures is in three pieces, that are baked separately and cemented together afterwards, hence they are more easily transported; no more clay is used than is absolutely necessary; and the off-side of the figure is neglected; they will be found chiefly, if not entirely, at the top of the steps. The other figures are more solidly built, and do not remind me in their business features of anything in the Valsesia. There was a sculptor, Francesco Sala, of Locarno (doubtless the village a short distance below Varallo, and not the Locarno on the Lago Maggiore), who made designs for some of the Oropa chapels, and some of whose letters are still preserved, but whether the Valsesian figures in this present work are by him or not I cannot say. | |
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