Ex Voto | Page 9

'Blessed Bernardino Caimo.' A Milanese of noble family, and Vicar of the Convent of the Minorites in Milan, and also in connection with that of Varallo, he was specially commissioned by Pope Sixtus IV. to visit the Sepulchre and other holy places in Palestine, and while there took the opportunity of making copies and drawings, with the intention of erecting a facsimile of them in his native country. On his return to Italy in 1491, after examining all the likely sites within reasonable distance of Milan, he found the conical hills of the Val Sesia the best adapted for his design, and fixed upon Varallo as the spot; being probably specially attracted to it from the fact of the convent and church of Sta. Maria delle Grazie, already described, having been conveyed through him to the 'Minori Osservanti,' as appears from a brief of Innocent VIII., dated December 21, 1486."
Mr. King does not give the source from which he derived his knowledge of the existence of this act, and I have not come across a notice of it elsewhere, except a brief one in Signor Galloni's work (p. 71), and a reference to it in the conveyance of April 14, 1493. But Signor Arienta of Varallo, whose industry in collecting materials for a history of the Sacro Monte cannot be surpassed, showed me a transcript from an old plan of the church of S. Maria delle Grazie, in which the inscription on Bernardino Caimi's grave was given--an inscription which (so at least I understood Signor Arienta to say) is now covered by an altar which had been erected on the site of the grave. The inscription ran:-
"Hic quiescunt ossa B. Bernardini Caimis Mediolan. S. Montis Varalli Fundatoris An. 1486. Pontif. Dipl sub die 21 Xbris. Mortuus est autem in hoc coenobio An. Vulg. AErae 1499."
It would thus appear that the Sacro Monte was founded four years earlier than the received date. The formal deed of conveyance of the site on the mountain from the town to Bernardino Caimi was not signed till the 14th of April 1493; but the work had been already commenced, as is shown by the inscription still remaining over the reproduction of the Holy Sepulchre, which is dated the 17th of October 1491. Probably the work was contemplated in 1486, and interrupted by B. Caimi's return to Jerusalem in 1487, not to be actively resumed till 1490.
"The first stone," says Mr. King, "was laid by Scarognini, a Milanese 'magnifico,' who cordially entered into the scheme; and at his expense the Holy Sepulchre was completed, and a hospice attached, where the founder and a number of Franciscan brothers came to reside in 1493. Caimo had planned a vast extension of this commencement, but died within three years, leaving his designs to be carried out by his successors."
. . .
"Each oratory contains a group--in some very numerous--of figures modelled in terra-cotta the size of life or larger; many of them of great merit as works of art, others very inferior and mere rubbish. The figures are coloured and occasionally draped with appropriate clothing, the resemblance to life being heightened by the addition of human hair"--[which, by the way, is always horse-hair]--"and the effect is often very startling. Each chapel represents a different 'mystery,' and, beside the modelled figures, the walls are decorated with frescoes. The front of each is open to the air, all but a wire grating, through apertures in which the subject may be perfectly seen in the position intended by the designer" (pp. 510-512).
Mr. King says, correctly, that Gaudenzio's earliest remaining work on the Sacro Monte is the Chapel of the Pieta, that originally contained the figures of Christ bearing the cross, but from which the modelled figures were removed, others being substituted that had no connection with the background. I do not know, however, that Christ was actually carrying the cross in the chapel as it originally stood. The words of the 1587 edition of Caccia (?) stand, "Come il N.S. fu spogliato de suoi panni, e condotto sopra il Monte Calvario, ch' e fatto di bellissimo e ben inteso relievo."
"The frescoes on the wall," he continues, "are particularly interesting, as having been painted by him at the early age of nineteen"--[Mr. King supposes Gaudenzio Ferrari to have been born in 1484]--"when his ambition to share in the glory and renown of the great work was gratified by this chapel being intrusted to him; a proof of his early talent and the just appreciation of it. The frescoes are much injured, but of the chief one there is enough to show its excellence. On one side is St. John, with clasped hands gazing upwards in grief, and the two Marys sorrowing, as a soldier in the centre seems to forbid their following further; his