originals for himself。 Have the good people of Oropa themselves
taken them very seriously？ Are we in an atmosphere where we need be
at much pains to speak with bated breath？ We； as is well known；
love to take even our pleasures sadly； the Italians take even their
sadness allegramente； and combine devotion with amusement in a
manner that we shall do well to study if not imitate。 For this best
agrees with what we gather to have been the custom of Christ
himself； who； indeed； never speaks of austerity but to condemn it。
If Christianity is to be a living faith； it must penetrate a man's
whole life； so that he can no more rid himself of it than he can of
his flesh and bones or of his breathing。 The Christianity that can
be taken up and laid down as if it were a watch or a book is
Christianity in name only。 The true Christian can no more part from
Christ in mirth than in sorrow。 And； after all； what is the essence
of Christianity？ What is the kernel of the nut？ Surely common
sense and cheerfulness； with unflinching opposition to the
charlatanisms and Pharisaisms of a man's own times。 The essence of
Christianity lies neither in dogma； nor yet in abnormally holy life；
but in faith in an unseen world； in doing one's duty； in speaking
the truth； in finding the true life rather in others than in
oneself； and in the certain hope that he who loses his life on these
behalfs finds more than he has lost。 What can Agnosticism do
against such Christianity as this？ I should be shocked if anything
I had ever written or shall ever write should seem to make light of
these things。 I should be shocked also if I did not know how to be
amused with things that amiable people obviously intended to be
amusing。
The reader may need to be reminded that Oropa is among the somewhat
infrequent sanctuaries at which the Madonna and infant Christ are
not white； but black。 I shall return to this peculiarity of Oropa
later on； but will leave it for the present。 For the general
characteristics of the place I must refer the reader to my book；
〃Alps and Sanctuaries。〃 ｛9｝ I propose to confine myself here to the
ten or a dozen chapels containing life…sized terra…cotta figures；
painted up to nature； that form one of the main features of the
place。 At a first glance； perhaps； all these chapels will seem
uninteresting； I venture to think； however； that some； if not most
of them； though falling a good deal short of the best work at
Varallo and Crea； are still in their own way of considerable
importance。 The first chapel with which we need concern ourselves
is numbered 4； and shows the Conception of the Virgin Mary。 It
represents St。 Anne as kneeling before a terrific dragon or； as the
Italians call it； 〃insect；〃 about the size of a Crystal Palace
pleiosaur。 This 〃insect〃 is supposed to have just had its head
badly crushed by St。 Anne； who seems to be begging its pardon。 The
text 〃Ipsa conteret caput tuum〃 is written outside the chapel。 The
figures have no artistic interest。 As regards dragons being called
insects； the reader may perhaps remember that the island of S。
Giulio； in the Lago d'Orta； was infested with insetti； which S。
Giulio destroyed； and which appear； in a fresco underneath the
church on the island； to have been monstrous and ferocious dragons；
but I cannot remember whether their bodies are divided into three
sections； and whether or no they have exactly six legswithout
which； I am told； they cannot be true insects。
The fifth chapel represents the birth of the Virgin。 Having
obtained permission to go inside it； I found the date 1715 cut large
and deep on the back of one figure before baking； and I imagine that
this date covers the whole。 There is a Queen Anne feeling
throughout the composition； and if we were told that the sculptor
and Francis Bird； sculptor of the statue in front of St。 Paul's
Cathedral； had studied under the same master； we could very well
believe it。 The apartment in which the Virgin was born is spacious；
and in striking contrast to the one in which she herself gave birth
to the Redeemer。 St。 Anne occupies the centre of the composition；
in an enormous bed； on her right there is a lady of the George
Cruikshank style of beauty； and on the left an older person。 Both
are gesticulating and impressing upon St。 Anne the enormous
obligation she has just conferred upon mankind； they seem also to be
imploring her not to overtax her strength； but； strange to say； they
are giving her neither flowers nor anything to eat and drink。 I
know no other birth of the Virgin in which St。 Anne wants so little
keeping up。
I have explained in my book 〃Ex Voto；〃 ｛10｝ but should perhaps
repeat here； that the distinguishing characteristic of the Birth of
the Virgin； as rendered by Valsesian artists； is that St。 Anne
always has eggs immediately after the infant is born； and usually a
good deal more； whereas the Madonna never has anything to eat or
drink。 The eggs are in accordance with a custom that still prevails
among the peasant classes in the Valsesia； where women on giving
birth to a child generally are given a sabaglionean egg beaten up
with a little wine； or rum； and sugar。 East of Milan the Virgin's
mother does not have eggs； and I suppose； from the absence of the
eggs at Oropa； that the custom above referred to does not prevail in
the Biellese district。 The Virgin also is invariably washed。 St。
John the Baptist； when he is born at all； which is not very often；
is also washed； but I have not observed that St。 Elizabeth has
anything like the attention paid her that is given to St。 Anne。
What； however； is wanting here at Oropa in meat and drink is made up
in Cupids； they swarm like flies on the walls； clouds； cornices； and
capitals of columns。
Against the right…hand wall are two lady…helps； each warming a towel
at a glowing fire； to be ready against the baby should come out of
its bath； while in the right…hand foreground we have the levatrice；
who having discharged her task； and being now so disposed； has
removed the bottle from the chimney…piece； and put it near some
bread； fruit and a chicken； over which she is about to discuss the
confinement with two other gossips。 The levatrice is a very
characteristic figure； but the best in the chapel is the one of the
head nurse； near the middle of the composition； she has now the
infant in full charge； and is showing it to St。 Joachim； with an
expression as though she were telling him that her husband was a
merry man。 I am afraid Shakespeare was dead before the sculptor was
born； otherwise I should have felt certain that he had drawn
Juliet's nurse from this figure。 As for the little Virgin herself；
I believe her to be a fine boy of about ten months old。 Viewing the
work as a whole； if I only felt more sure what artistic merit really
is； I should say that； though the chapel cannot be rated very highly
from some standpoints； there are others from which it may be praised
warmly enough。 It is innocent of anatomy…worship； free from
affectation or swagger； and not devoid of a good deal of homely
naivete。 It can no more be compared with Tabachetti or Donatello
than Hogarth can with Rembrandt or Giovanni Bellini； but as it does
not transcend the limitations of its age； so neither is it wanting
in whatever merits that age possessed； and there is no age without
merits of some kind。 There is no inscription saying who made the
figures； but tradition gives them to Pietro Aureggio Termine； of
Biella； commonly called Aureggio。 This is confirmed by their strong
resemblance to those in the Dimora Chapel； in which there is an
inscription that names Aureggio as the sculptor。
The sixth chapel deals with the Presentation of the Virgin in the
Temple。 The Virgin is very small； but it must be remembered that
she is only seven years old； and she is not nearly so small as she
is at Crea； where； though a life…sized figure is intended； the head
is hardly bigger than an apple。 She is rushing up the steps with
open arms towards the High Priest； who is standing at the top。 For
her it is nothing alarming； it is the High Priest who appears
frightened； but it will all come right in time。 The Virgin seems to
be saying； 〃Why； don't you know me？ I'm the Virgin Mary。〃 But the
High Priest does not feel so sure about that； and will make further
inquiries。 The scene； which comprises some twenty figures； is
animated enough； and though it hardly kindles enthusiasm； still does
not fail to please。 It looks as though of somewhat older date than
the Birth of the Virgin chapel； and I should say shows more signs of
direct Valsesian influence。 In Marocco's book about Oropa it is
ascribed to Aureggio； but I find it difficult to accept this。
The seventh； and in many respects most interesting chapel at Oropa；
shows what is in reality a medieval Italian girl school； as nearly
like the thing itself as the artist could make it； we are expected；
however； to see in this the high…class kind of Girton College for
young gentlewomen that was attached to the Temple at Jerusalem；
under the direction of the Chief Priest's wife； or some one of his
near female relatives。 Here all well…to…do Jewish