Essays on Life 



Flagellation chapel, and in two cherubs in 

 the Assumption of the Virgin. 



We may say, then, with some certainty, 

 that the designer was a cultivated and prac- 

 tised artist. We may also not less certainly 

 conclude that he was of Flemish origin, for the 

 horses in the Journey to Calvary and Cruci- 

 fixion chapels, where alone there are any 

 horses at all, are of Flemish breed, with no 

 trace of the Arab blood adopted by Gaudenzio 

 at Varallo. The character, moreover, of the 

 villains is Northern of the Quentin Matsys, 

 Martin Schongauer type, rather than Italian ; 

 the same sub-Rubensesque feeling which is 

 apparent in more than one chapel at Varallo 

 is not less evident here especially in the 

 Journey to Calvary and Crucifixion chapels. 

 There can hardly, therefore, be a doubt that 

 the artist was a Fleming who had worked for 

 several years in Italy. 



It is also evident that he had Tabachetti's 

 work at Varallo well in his mind. For not 

 only does he adopt certain details of cos- 

 tume (I refer particularly to the treatment 



of soldiers' tunics) which are peculiar to 



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