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Updated: June 10, 2025
He keeps some of his bees during the winter at Camasco not very far from Varallo, others in other places near and moves them up to Alagna, at the head of the Val Sesia, towards the end of May that they may make their honey from the spring flowers and excellent honey they make. About a fortnight ago I happened to meet him bringing down ten of his hives.
Mount Calvary is still shown, as at Varallo, towards the left-hand corner of the work, but at Saas it is more towards the middle than at Varallo, so that horsemen and soldiers may be seen coming up behind it a stroke that deserves the name of genius none the less for the manifest imperfection with which it has been carried into execution.
The Saas artist has Tabachetti's Varallo work at his finger-ends, but betrays no acquaintance whatever with Gaudenzio Ferrari, Gio. Ant. Paracca, or Giovanni d'Enrico. Even, moreover, when Tabachetti's work at Varallo is being most obviously drawn from, as in the Journey to Calvary chapel, the Saas version differs materially from that at Varallo, and is in some respects an improvement on it.
He would go up the Val Anzasca to Macugnaga, and over the Monte Moro, which would bring him immediately to Saas. Saas, therefore, is the nearest and most natural place for him to make for, if he were flying from Varallo, and here I suppose him to have halted.
Or he may have been sacrificed in order to facilitate the return of the workers in stucco whom he had superseded on the Sacro Monte. I suppose, then, that Tabachetti was shut up in a madhouse at Varallo for a considerable time, during which I can find no trace of him, but that eventually he escaped or was released.
The "Crucifixion," and the "Assumption of Madonna" are very tall and narrow compositions, audacious in their attempt to fill almost unmanageable space with a connected action. Of the two frescos, the "Crucifixion," which has points of strong similarity to the same subject at Varallo, is by far the best.
In the spring of 1888, on his return from photographing the statues at Varallo, he found, to his disgust, that the authorities of the British Museum had removed Frost's Lives of Eminent Christians from its accustomed shelf in the Reading Room.
Look at De Hooghe; look at "The Pilgrim's Progress," or even Shakespeare himself how long they slept unawakened, though they were in broad daylight and on the public thoroughfares all the time. Look at Tabachetti, and the masterpieces he left at Varallo. His figures there are exposed to the gaze of every passer-by; yet who heeds them? Who, save a very few, even know of their existence?
The Saas artist has Tabachetti's Varallo work at his finger-ends, but betrays no acquaintance whatever with Gaudenzio Ferrari, Gio. Ant. Paracca, or Giovanni D'Enrico. Even, moreover, when Tabachetti's work at Varallo is being most obviously drawn from, as in the Journey to Calvary chapel, the Saas version differs materially from that at Varallo, and is in some respects an improvement on it.
His dramatic scenes from sacred history, rich in novel motives and exuberantly full of invention, crowd the churches of Vercelli; while a whole epic of the Passion is painted in fresco above the altar of S. Maria delle Grazie at Varallo, covering the wall from basement to ceiling.
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