Site of the Crucifixion

Usage examples of calvary.

That he was either absent from Varallo, or at Varallo but unable to work, between the years 1586 and 1590, is certain, for, in the first place, there is no work on the Sacro Monte that can possibly be given to him during these years, and in the second, if he had been available, considering the brilliant success of his Calvary chapel, the Massacre of the Innocents, which dates from 1586-1590, would surely have been entrusted to him, instead of to Rossetti or Bargnola--whichever of these two is the rightful sculptor.

Varallo and of his great Calvary Chapel would be settled within a very few years if the missing books were available.

Jerusalem, even to the existence of another mountain hard by which was like Calvary, he threw himself on the ground and thanked God in a transport of delight.

Christ taken for the last time before Pilate, the Original journey to Calvary, Fainting Madonna, Crucifixion, Entombment, Ascension, and the old church of the Assumption of the Virgin Mary now removed.

I should say, however, that I find it impossible to reconcile the two accounts of the journeys to Calvary, given in the prose introduction to this work, and in the poetical description that follows it, or rather to understand the topography of the poetical version at all, for the prose account is plain enough.

Journey to Calvary, which contains about forty figures rather larger than life, and nine horses,--is of such superlative excellence as regards composition and dramatic power, to say nothing of the many admirable individual figures comprised in it, that it is not too much to call it the most astounding work that has ever been achieved in sculpture.

It is not known when he came to Varallo, but by the year 1586 his great Calvary chapel was undoubtedly finished, as also, I imagine, the Adam and Eve, and Temptation chapels, all three of which are mentioned in the 1586 edition of Caccia.

It was generally supposed that this was the end of him, but there can be no doubt that, if ever he went mad at all, it was only for a short time, as a consequence of over-fatigue, and perhaps worry, over his gigantic work, the Journey to Calvary chapel.

Journey to Calvary chapel, and in other works by him that were cancelled when the Palazzo di Pilato chapel was built?

There is no genuine tradition, however, to this effect, and the belief may be traced to misapprehension of a passage in Fassola and Torrotti, who say that the main road represents the path taken by Christ himself on his journey to Calvary, while the other symbolises the short cut taken by the Virgin when she went to rejoin him after his resurrection.

Journey to Calvary chapel, the sculptor, whoever he was, has nevertheless plainly felt the influence, and been animated by the spirit of that great work, then just completed.

Morazzone took pains with the Journey to Calvary chapel, which was his first work on the Sacro Monte, but never did anything so good again.

True, the procession was supposed to be at the top of Mount Calvary, but that is a detail.

It applies also to a not inconsiderable extent to the man with a goitre who is leading Christ in the Calvary chapel.

The three preceding chapels are supposed to be on Mount Calvary, and from them we descend by a flight of stone steps to the level of the piazza.