a tantalizing glimpse of another church, a Renaissance building rich with encrusted marbles: one of the nameless uncatalogued treasures in which Italy still abounds.
Toward sunset we reached Madonna di Tirano, the great pilgrimage church of the Valtelline. With its adjoining monastery it stands alone in poplar-shaded meadows a mile or more from the town of Tirano. The marble church, a late fifteenth-century building by Battagio (the architect of the Incoronata of Lodi), has the peculiar charm of that transitional period when individuality of detail was merged, but not yet lost, in the newly-recovered sense of unity. From the columns of the porch, with their Verona-like arabesques, to the bronze Saint Michael poised like a Mercury on the cupola, the whole building combines the charm and naïveté of the earlier tradition with the dignity of a studied whole. The interior, if less homogeneous, is, in the French sense, even more “amusing.” Owing, doubtless, to the remote situation of the church, it has escaped the unifying hand of the improver, and presents three centuries of conflicting decorative treatment, ranging from the marble chapel of the Madonna, so suggestive, in its clear-edged reliefs, of the work of Omodeo at Pavia, to the barocco carvings of the organ and the eighteenth-century grisailles beneath the choir-gallery.
The neighbouring monastery of Saint Michael has been turned into an inn without farther change than that of substituting tourists for monks in the white-washed cells around the cloisters. The old building is a dusty labyrinth of court-yards, loggias and pigeon-haunted upper galleries, which it needs but little imagination to people with cowled figures gliding to lauds or benediction; and the refectory where we supped is still hung with portraits of cardinals, monsignori, and lady abbesses holding little ferret-like dogs.
The next day we drove across the rich meadows to Tirano, one of those unhistoried and unconsidered Italian towns which hold in reserve for the observant eye a treasure of quiet impressions. It is difficult to name any special “effect”: the hurried sight-seer may discover only dull streets and featureless house-fronts. But the place has a fine quality of age and aloofness. The featureless houses are “palaces,” long-fronted and escutcheoned, with glimpses of arcaded courts, and of gardens where maize and dahlias smother the broken statues and choked fountains, and where grapes ripen on the peeling stucco walls. Here and there one comes on a frivolous rococo church, subdued by time to delicious harmony with its surroundings; on a fountain in a quiet square, or a wrought-iron balcony projecting romantically from a shuttered façade; or on one or another of the hundred characteristic details which go to make up the mise en scène of the average Italian town. It is precisely in places like Tirano, where there are no salient beauties to fix the eye, that one appreciates the value of these details, that one realizes what may be called the negative strength of the Italian artistic sense. Where the Italian builder could not be grand, he could always abstain from being mean and trivial; and this artistic abnegation gives to many a dull little town like Tirano an architectural dignity which our great cities lack.
II
The return to secular life was made two days later, when we left our monastery and set out to drive across the Aprica pass to Edolo. Retracing for a mile or two the way toward Sondrio, we took a turn to the left and began to mount the hills through forests of beech and chestnut. With each bend of the road the views down the Valtelline toward Sondrio and Como grew wider and more beautiful. No one who has not looked out on such a prospect in the early light of an August morning can appreciate the poetic truth of Claude’s interpretation of nature: we seemed to be moving through a gallery hung with his pictures. There was the same expanse of billowy forest, the same silver winding of a river through infinite gradations of distance, the same aërial line of hills melting into illimitable sky.
As we neared the top of the pass the air freshened, and pines and open meadows replaced the forest. We lunched at a little hotel in a bare meadow, among a crowd of Italians enjoying the villeggiatura in their shrill gregarious fashion; then we began the descent to Edolo in the Val Camonica.
The scenery changed rapidly as we drove on. There was no longer any great extent of landscape, as on the other side of the pass, but a succession of small park-like views: rounded clumps of trees interspersed with mossy glades, water-falls surmounted by old mills, campanili rising above villages hidden in foliage. On these smooth grassy terraces, under the walnut boughs, one expected at each turn to come upon some pastoral of Giorgione’s, or on one of Bonifazio’s sumptuous picnics. The scenery has a studied beauty in which velvet robes and caparisoned palfreys would not be out of place, and even the villages might have been “brushed in” by an artist skilled in effects and not afraid to improve upon reality.
It was after sunset when we reached Edolo, a dull town splendidly placed at the head of the Val Camonica, beneath the ice-peaks of the Adamello. The Oglio, a loud stream voluble of the glaciers, rushes through the drowsy streets as though impatient to be gone; and we were not sorry, the next morning, to follow its lead and continue our way down the valley.
III
The Val Camonica, which extends from the Adamello group to the head of the lake of Iseo, is a smaller and more picturesque reproduction of the Valtelline. Vines and maize again fringed our way; but the mountains were closer, the villages more frequent and more picturesque.
The Municipio—Brescia E. C. Peixotto BRESCIA. 1901.
We had read in the invaluable guide-book of Gsell-Fels a vague allusion to an interesting church among these mountains, but we could learn nothing of it at Edolo, and only by persistent enquiries along the road did we finally hear that there was a church with “sculptures” in the hill-village of Cerveno, high above the reach of carriages. We left the high-road at the point indicated, and drove in a light country carriole up the stony mule-path, between vines and orchards, till the track grew too rough for wheels; then we continued the ascent on foot. As we approached the cluster of miserable hovels which had been pointed out to us we felt sure we had been misled. Not even in Italy, the land of unsuspected treasures, could one hope to find a church with “sculptures” in a poverty-stricken village on this remote mountain! Cerveno does not even show any signs of past prosperity. It has plainly never been more than it now is—the humblest of paesi, huddled away in an unvisited fold of the Alps. The peasants whom we met still insisted that the church we sought was close at hand; but the higher we mounted the lower our anticipations fell.
Then suddenly, at the end of a long stony lane, we came on an imposing doorway. The church to which it belonged stood on a higher ledge of the hill, and the door led into a vaulted ascent, with shallow flights of steps broken by platforms or landings—a small but yet impressive imitation of the Bernini staircase in the Vatican. As we mounted we found that each landing opened into a dimly-lit chapel with grated doors, through which we discerned terra-cotta groups representing the scenes of the Passion. The staircase was in fact a Sacred Way like the more famous one of Varallo; but there was distinct originality in placing the chapels on each side of the long flight of steps leading to the church, instead of scattering them on an open hill-side, according to the traditional plan common to all the other sacred mountains of northern Italy.
The dilettante will always allow for the heightening of emotion that attends any unexpected artistic “find”; but, setting this subjective impression aside, the Via Crucis of Cerveno remains in my memory as among the best examples of its kind—excepting always the remarkable terra-cottas of San Vivaldo in Tuscany. At Cerveno, as at Varallo, the groups are marked by unusual vivacity and expressiveness. The main lines of the composition are conventional, and the chief personages—Christ and the Apostles, the Virgin and the other holy characters—are modelled on traditional types; but the minor figures, evidently taken from life, are rendered with frank realism and with extraordinary truth of expression and gesture. Just such types—the