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Bradantia References
Taken singly, I suppose that none of the figures in the chapel, except the Virgin's grandmother, should be rated very highly. The under-nurse is the next best figure, and might very well be Tabachetti's, for neither Giovanni d'Enrico nor Giacomo Ferro was successful with his female characters. There is not a single really comfortable woman in any chapel by either of them on the Sacro Monte at Varallo. Tabachetti, on the other hand, delighted in women; if they were young he made them comely and engaging, if they were old he gave them dignity and individual character, and the under-nurse is much more in accordance with Tabachetti's habitual mental attitude than with D'Enrico's or Giacomo Ferro's. Still there are only four figures out of the eleven that are mere otiose supers, and taking the work as a whole it leaves a pleasant impression as being throughout naive and homely, and sometimes, which is of less importance, technically excellent.
Far from finding the spring and motion of life diminished, I feel that the current of it runs with a sharper and clearer intensity, because I have learned my limitations, and expend no energy in useless enterprises. I have learned what the achievements are which come joyfully bearing their sheaves with them, and what are the trivial and fruitless aims. When I was younger I desired to be known and recognised and deferred to. I wanted to push my way discreetly into many companies, to produce an impression, to create a sense of admiration. Now as the sunset draws nearer, and the enriched light, withdrawn from the farther horizon, begins to pulsate more intensely in the quarter whence it must soon altogether fade, I begin to see that vague and widely ranging effects have a thinness and shallowness about them. It is a poor thing just to see oneself transiently reflected in a hundred little mirrors. There is no touch of reality about that. Little greetings, casual flashes of courteous talk, petty compliments--these are things that fade as soon as they are born. The only thing worth doing is a little bit of faithful and solid work, something given away which costs one real pain, a few ideas and thoughts worked patiently out, a few hearts really enlivened and inspirited. And then, too, comes the consciousness that much of one's cherished labour is of no use at all except to oneself; that work is not a magnificent gift presented to others, but a wholesome privilege conceded to oneself, that the love which brought with it but a momentary flash of self-regarding pleasure is not love at all, and that only love which means suffering--not delicate regrets and luxurious reveries, but hard and hopeless pain--is worth the name of love at all. Those are some of the lights of sunset, the enfolding gleams that are on their way to death, and which yet testify that the light which wanes and lapses here, drawn reluctantly away from dark valley and sombre woodland, is yet striding ahead over dewy uplands and breaking seas, past the upheaving shoulder of the world.
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