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Updated: June 10, 2025
Tabachetti had no chapel with this subject at Varallo, and there is no resemblance between the Saas chapel and that by D'Enrico. The figures are no doubt approximately in their original positions, but I have no confidence that I have rearranged them correctly. They were in such confusion when I first saw them that the Rev. E. J. Selwyn and myself determined to rearrange them.
One of these visits, made after his book was published, forms the subject of "The Sanctuary of Montrigone." Ex Voto, the book about Varallo, appeared in 1888, and an Italian translation by Cavaliere Angelo Rizzetti was published at Novara in 1894.
Samuel Butler Records and Memorials, a collection of obituary notices with a note by R. A. Streatfeild, his literary executor, printed for private circulation: with reproduction of a photograph of Butler taken at Varallo in 1889. The Way of All Flesh, a novel, written between 1872 and 1885, published by R. A. Streatfeild: MS. with Mr. R. A. Streatfeild.
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.
One of these sites deserves special mention. Just at the point where the pathway of the Colma leaves the chestnut groves and meadows to join the road leading to Varallo, there stands a little chapel, with an open loggia of round Renaissance arches, designed and painted, according to tradition, by Ferrari, and without doubt representative of his manner.
Better advised, as it seems to me, Gaudenzio Ferrari broke up a space of the same shape and size at Varallo into many compartments, each more or less complete in itself, grouped round a central scene. The subdivision of books into chapters, each with a more or less emphatic full close in its own key, is found to be a help as giving the attention halting places by the way.
The general effect of the chapel is excellent, if we consider the material in which it is executed, and the rudeness of the audience to whom it addresses itself. The Crowning with Thorns. Here again the inspiration is derived from Tabachetti's Crowning with Thorns at Varallo.
Accordingly, on returning home, he took up photography and, immediately after Christmas, went back to Varallo to photograph the statues and collect material. Much research was necessary and many visits to out-of-the-way sanctuaries which might have contained work by the sculptor Tabachetti, whom he was rescuing from oblivion and identifying with the Flemish Jean de Wespin.
The traveller has in the course of his wanderings often to feel thankful that a kind providence has planted sacred places in the midst of lovely scenery. The holy mountain at Varallo, the sacred hill at Orta, are, like the shrines of Kief, made doubly pleasant for pilgrimage through the beauties of nature by which they are surrounded.
Tabachetti had no chapel with this subject at Varallo, and there is no resemblance between the Saas chapel and that by D'Enrico. The figures are no doubt approximately in their original positions, but I have no confidence that I have rearranged them correctly. They were in such confusion when I first saw them that the Rev. E. J. Selwyn and myself determined to rearrange them.
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