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Updated: May 20, 2025
The scene, which comprises some twenty figures, is animated enough, and though it hardly kindles enthusiasm, still does not fail to please. It looks as though of somewhat older date than the Birth of the Virgin chapel, and I should say shows more signs of direct Valsesian influence. In Marocco's book about Oropa it is ascribed to Aureggio, but I find it difficult to accept this.
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.
In the other annex there are also one or two younger children, but it seems to have been set apart for conversation and relaxation more than any other part of the establishment. I have already said that the work is signed by an inscription inside the chapel, to the effect that the sculptures are by Pietro Aureggio Termine di Biella.
There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor. The sixth chapel deals with the Presentation of the Virgin in the Temple.
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.
In the other annex there are also one or two younger children, but it seems to have been set apart for conversation and relaxation more than any other part of the establishment. I have already said that the work is signed by an inscription inside the chapel, to the effect that the sculptures are by Pietro Aureggio Termine di Biella.
The statues are the work of a local sculptor, named Aureggio, who lived at the end of the seventeenth and beginning of the eighteenth century.
There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor. The sixth chapel deals with the Presentation of the Virgin in the Temple.
The scene, which comprises some twenty figures, is animated enough, and though it hardly kindles enthusiasm, still does not fail to please. It looks as though of somewhat older date than the Birth of the Virgin chapel, and I should say shows more signs of direct Valsesian influence. In Marocco's book about Oropa it is ascribed to Aureggio, but I find it difficult to accept this.
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