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Updated: June 5, 2025
The other figures are more solidly built, and do not remind me in their business features of anything in the Valsesia. The statues are twenty-five in number; I could find no date or signature; the work reminds me of Montrigone; several of the figures are not at all bad, and several have horsehair for hair, as at Varallo.
Of irreverence, in the sense of a desire to laugh at things that are of high and serious import, there is not a trace, but at the same time there is a certain unbending of the bow at Montrigone which is not perceivable at Varallo. The first chapel to the left on entering the church is that of the Birth of the Virgin. St. Anne is sitting up in bed.
I wrote the foregoing pages in the church at Montrigone itself, having brought my camp-stool with me. It was Sunday; the church was open all day, but there was no mass said, and hardly any one came. The sacristan was a kind, gentle, little old man, who let me do whatever I wanted.
The other figures are more solidly built, and do not remind me in their business features of anything in the Valsesia. The statues are twenty-five in number; I could find no date or signature; the work reminds me of Montrigone; several of the figures are not at all bad, and several have horsehair for hair, as at Varallo.
I told him I thought this was a case for his spiritual director, and that if he felt uncomfortable about it he should consult his parish priest and do as he was told. On leaving Montrigone, with a pleasant sense of having made acquaintance with a new and, in many respects, interesting work, I could not get the sacristan and our difference of opinion out of my head.
Returning to Montrigone, the Simeon is an excellent figure, and the Virgin is fairly good, but the prophetess Anna, who stands just behind her, is by far the most interesting in the group, and is alone enough to make me feel sure that Tabachetti gave more or less help here, as he had done years before at Orta.
This essay requires to be illustrated in so elaborate a manner that it was impossible to include it in a book of this size. The second essay, which is a sketch of the career of the sculptor Tabachetti, was published as the first section of an article entitled "A Sculptor and a Shrine," of which the second section is here given under the title, "The Sanctuary of Montrigone."
Of course, even in spite of such evidence as this I may be mistaken about the Virgin's grandmother's sex, and the sacristan may be right; but I can only say that if the lady sitting by St. Anne's bedside at Montrigone is the Virgin's father well, in that case I must reconsider a good deal that I have been accustomed to believe was beyond question.
This essay requires to be illustrated in so elaborate a manner that it was impossible to include it in a book of this size. The second essay, which is a sketch of the career of the sculptor Tabachetti, was published as the first section of an article, entitled "A Sculptor and a Shrine," of which the second part is here given under the title "The Sanctuary of Montrigone."
In the next desert there is a very beautiful figure of St. John the Baptist kneeling and looking upwards. This figure puzzles me more than any other at Montrigone; it appears to be of the fifteenth rather than the sixteenth century; it hardly reminds me of Gaudenzio, and still less of any other Valsesian artist. It is a work of unusual beauty, but I can form no idea as to its authorship.
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