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Bradantia Directory 04
Page 01
The campaign of B.C. 215 was not marked by any decisive events. The Consuls were Q. Fabius Maximus (whose plan of conducting the war had been fully vindicated by the terrible defeat of Cannae) and Tiberius Sempronius Gracchus. With the advance of spring Hannibal took up his camp on Mount Tifata, where, while awaiting the arrival of re-enforcements from Carthage, he was at hand to support his partisans in Campania and oppose the Roman generals in that province. But his attempts on Cumae and Neapolis were foiled, and even after he had been joined by a force from Carthage (very inferior, however, to what he had expected), he sustained a repulse before Nola, which was magnified by the Romans into a defeat. As the winter approached he withdrew into Apulia, and took up his quarters in the plains around Arpi. But other prospects were already opening before him. In his camp on Tifata he had received embassies from Philip, king of Macedon, and Hieronymus of Syracuse, both of which he had eagerly welcomed, and thus sowed the seeds of two fresh wars, and raised up two formidable enemies against the Roman power.
The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.
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