The
figure of Christ is greatly better in technical execution than that
of either of the two thieves; the folds of the drapery alone will
show this even to an unpractised eye. I do not think there can be a
doubt but that Tabachetti cut this figure himself, as also those of
the Magdalene and St. John, who stand at the foot of the cross. The
thieves are coarsely executed, with no very obvious distinction
between the penitent and the impenitent one, except that there is a
fiend painted on the ceiling over the impenitent thief. The one
horse introduced into the composition is again of the heavy Flemish
type adopted by Tabachetti at Varallo. There is great difference in
the care with which the folds on the several draperies have been
cut, some being stiff and poor enough, while others are done very
sufficiently. In spite of smallness of scale, ignoble material,
disarrangement and decay, the work is still striking.
11. The Resurrection. There being no chapel at Varallo with any of
the remaining subjects treated at Saas, the sculptor has struck out
a line for himself. The Christ in the Resurrection Chapel is a
carefully modelled figure, and if better painted might not be
ineffective. Three soldiers, one sleeping, alone remain. There
were probably other figures that have been lost. The sleeping
soldier is very pleasing.
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