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Nicholeto Chordiman Directory 06
Page 03
The king agreed to this, and in the evening Dr. Tong was introduced. He had a budget of papers which he began to open and read, but Charles had not patience to hear them; his mind was full of a plan which he was contemplating of going to Windsor the next day, to look at some new decorations which he had ordered for several of the apartments of the palace. He did not believe in the existence of any plot. It is true that plots and conspiracies were very common in those days, but false rumors and unfounded tales of plots were more common still. There was so much excitement in the minds of the community on the subject of the Catholic and Protestant faith, and such vastly extended interests depended on whether the sovereign belonged to one side or the other on this question, that every thing relating to the subject was invested with a mysterious awe, and the most wonderful stories were readily circulated and believed. The public mind was always particularly sensitive and excitable in such a case as that of Charles and his brother James at the time of which we are writing, where the reigning monarch, Charles, was of one religious faith, and his brother James, the next heir, was of the other. The death of Charles, which might at any time take place, would naturally lead to a religious revolution, and this kept the whole community in an exceedingly excitable and feverish state. There was a great temptation to form plots on the one hand, and a great eagerness to discover them on the other; and any man who could tell a story of treasonable schemes, whether his tale was true or fabricated, became immediately a personage of great importance.
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. Each of these last figures is in three pieces, that are baked separately and cemented together afterwards, hence they are more easily transported; no more clay is used than is absolutely necessary; and the off-side of the figure is neglected; they will be found chiefly, if not entirely, at the top of the steps. The other figures are more solidly built, and do not remind me in their business features of anything in the Valsesia. There was a sculptor, Francesco Sala, of Locarno (doubtless the village a short distance below Varallo, and not the Locarno on the Lago Maggiore), who made designs for some of the Oropa chapels, and some of whose letters are still preserved, but whether the Valsesian figures in this present work are by him or not I cannot say.
The twelfth, the Purification, is absurdly bad, but I do not know whether the expression of strong personal dislike to the Virgin which the High Priest wears is intended as prophetic, or whether it is the result of incompetence, or whether it is merely a smile gone wrong in the baking. It is amusing to find Marocco, who has not been strict about archaeological accuracy hitherto, complain here that there is an anachronism, inasmuch as some young ecclesiastics are dressed as they would be at present, and one of them actually carries a wax candle. This is not as it should be; in works like those at Oropa, where implicit reliance is justly placed on the earnest endeavours that have been so successfully made to thoroughly and carefully and patiently ensure the accuracy of the minutest details, it is a pity that even a single error should have escaped detection; this, however, has most unfortunately happened here, and Marocco feels it his duty to put us on our guard. He explains that the mistake arose from the sculptor's having taken both his general arrangement and his details from some picture of the fourteenth or fifteenth century, when the value of the strictest historical accuracy was not yet so fully understood.
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