originals　for　himself。　　Have　the　good　people　of　Oropa　themselves
  taken　them　very　seriously？　　Are　we　in　an　atmosphere　where　we　need　be
  at　much　pains　to　speak　with　bated　breath？　　We；　as　is　well　known；
  love　to　take　even　our　pleasures　sadly；　the　Italians　take　even　their
  sadness　allegramente；　and　combine　devotion　with　amusement　in　a
  manner　that　we　shall　do　well　to　study　if　not　imitate。　　For　this　best
  agrees　with　what　we　gather　to　have　been　the　custom　of　Christ
  himself；　who；　indeed；　never　speaks　of　austerity　but　to　condemn　it。
  If　Christianity　is　to　be　a　living　faith；　it　must　penetrate　a　man's
  whole　life；　so　that　he　can　no　more　rid　himself　of　it　than　he　can　of
  his　flesh　and　bones　or　of　his　breathing。　　The　Christianity　that　can
  be　taken　up　and　laid　down　as　if　it　were　a　watch　or　a　book　is
  Christianity　in　name　only。　　The　true　Christian　can　no　more　part　from
  Christ　in　mirth　than　in　sorrow。　　And；　after　all；　what　is　the　essence
  of　Christianity？　　What　is　the　kernel　of　the　nut？　　Surely　common
  sense　and　cheerfulness；　with　unflinching　opposition　to　the
  charlatanisms　and　Pharisaisms　of　a　man's　own　times。　　The　essence　of
  Christianity　lies　neither　in　dogma；　nor　yet　in　abnormally　holy　life；
  but　in　faith　in　an　unseen　world；　in　doing　one's　duty；　in　speaking
  the　truth；　in　finding　the　true　life　rather　in　others　than　in
  oneself；　and　in　the　certain　hope　that　he　who　loses　his　life　on　these
  behalfs　finds　more　than　he　has　lost。　　What　can　Agnosticism　do
  against　such　Christianity　as　this？　　I　should　be　shocked　if　anything
  I　had　ever　written　or　shall　ever　write　should　seem　to　make　light　of
  these　things。　　I　should　be　shocked　also　if　I　did　not　know　how　to　be
  amused　with　things　that　amiable　people　obviously　intended　to　be
  amusing。
  The　reader　may　need　to　be　reminded　that　Oropa　is　among　the　somewhat
  infrequent　sanctuaries　at　which　the　Madonna　and　infant　Christ　are
  not　white；　but　black。　　I　shall　return　to　this　peculiarity　of　Oropa
  later　on；　but　will　leave　it　for　the　present。　　For　the　general
  characteristics　of　the　place　I　must　refer　the　reader　to　my　book；
  〃Alps　and　Sanctuaries。〃　｛9｝　　I　propose　to　confine　myself　here　to　the
  ten　or　a　dozen　chapels　containing　life…sized　terra…cotta　figures；
  painted　up　to　nature；　that　form　one　of　the　main　features　of　the
  place。　　At　a　first　glance；　perhaps；　all　these　chapels　will　seem
  uninteresting；　I　venture　to　think；　however；　that　some；　if　not　most
  of　them；　though　falling　a　good　deal　short　of　the　best　work　at
  Varallo　and　Crea；　are　still　in　their　own　way　of　considerable
  importance。　　The　first　chapel　with　which　we　need　concern　ourselves
  is　numbered　4；　and　shows　the　Conception　of　the　Virgin　Mary。　　It
  represents　St。　Anne　as　kneeling　before　a　terrific　dragon　or；　as　the
  Italians　call　it；　〃insect；〃　about　the　size　of　a　Crystal　Palace
  pleiosaur。　　This　〃insect〃　is　supposed　to　have　just　had　its　head
  badly　crushed　by　St。　Anne；　who　seems　to　be　begging　its　pardon。　　The
  text　〃Ipsa　conteret　caput　tuum〃　is　written　outside　the　chapel。　　The
  figures　have　no　artistic　interest。　　As　regards　dragons　being　called
  insects；　the　reader　may　perhaps　remember　that　the　island　of　S。
  Giulio；　in　the　Lago　d'Orta；　was　infested　with　insetti；　which　S。
  Giulio　destroyed；　and　which　appear；　in　a　fresco　underneath　the
  church　on　the　island；　to　have　been　monstrous　and　ferocious　dragons；
  but　I　cannot　remember　whether　their　bodies　are　divided　into　three
  sections；　and　whether　or　no　they　have　exactly　six　legswithout
  which；　I　am　told；　they　cannot　be　true　insects。
  The　fifth　chapel　represents　the　birth　of　the　Virgin。　　Having
  obtained　permission　to　go　inside　it；　I　found　the　date　1715　cut　large
  and　deep　on　the　back　of　one　figure　before　baking；　and　I　imagine　that
  this　date　covers　the　whole。　　There　is　a　Queen　Anne　feeling
  throughout　the　composition；　and　if　we　were　told　that　the　sculptor
  and　Francis　Bird；　sculptor　of　the　statue　in　front　of　St。　Paul's
  Cathedral；　had　studied　under　the　same　master；　we　could　very　well
  believe　it。　　The　apartment　in　which　the　Virgin　was　born　is　spacious；
  and　in　striking　contrast　to　the　one　in　which　she　herself　gave　birth
  to　the　Redeemer。　　St。　Anne　occupies　the　centre　of　the　composition；
  in　an　enormous　bed；　on　her　right　there　is　a　lady　of　the　George
  Cruikshank　style　of　beauty；　and　on　the　left　an　older　person。　　Both
  are　gesticulating　and　impressing　upon　St。　Anne　the　enormous
  obligation　she　has　just　conferred　upon　mankind；　they　seem　also　to　be
  imploring　her　not　to　overtax　her　strength；　but；　strange　to　say；　they
  are　giving　her　neither　flowers　nor　anything　to　eat　and　drink。　　I
  know　no　other　birth　of　the　Virgin　in　which　St。　Anne　wants　so　little
  keeping　up。
  I　have　explained　in　my　book　〃Ex　Voto；〃　｛10｝　but　should　perhaps
  repeat　here；　that　the　distinguishing　characteristic　of　the　Birth　of
  the　Virgin；　as　rendered　by　Valsesian　artists；　is　that　St。　Anne
  always　has　eggs　immediately　after　the　infant　is　born；　and　usually　a
  good　deal　more；　whereas　the　Madonna　never　has　anything　to　eat　or
  drink。　　The　eggs　are　in　accordance　with　a　custom　that　still　prevails
  among　the　peasant　classes　in　the　Valsesia；　where　women　on　giving
  birth　to　a　child　generally　are　given　a　sabaglionean　egg　beaten　up
  with　a　little　wine；　or　rum；　and　sugar。　　East　of　Milan　the　Virgin's
  mother　does　not　have　eggs；　and　I　suppose；　from　the　absence　of　the
  eggs　at　Oropa；　that　the　custom　above　referred　to　does　not　prevail　in
  the　Biellese　district。　　The　Virgin　also　is　invariably　washed。　　St。
  John　the　Baptist；　when　he　is　born　at　all；　which　is　not　very　often；
  is　also　washed；　but　I　have　not　observed　that　St。　Elizabeth　has
  anything　like　the　attention　paid　her　that　is　given　to　St。　Anne。
  What；　however；　is　wanting　here　at　Oropa　in　meat　and　drink　is　made　up
  in　Cupids；　they　swarm　like　flies　on　the　walls；　clouds；　cornices；　and
  capitals　of　columns。
  Against　the　right…hand　wall　are　two　lady…helps；　each　warming　a　towel
  at　a　glowing　fire；　to　be　ready　against　the　baby　should　come　out　of
  its　bath；　while　in　the　right…hand　foreground　we　have　the　levatrice；
  who　having　discharged　her　task；　and　being　now　so　disposed；　has
  removed　the　bottle　from　the　chimney…piece；　and　put　it　near　some
  bread；　fruit　and　a　chicken；　over　which　she　is　about　to　discuss　the
  confinement　with　two　other　gossips。　　The　levatrice　is　a　very
  characteristic　figure；　but　the　best　in　the　chapel　is　the　one　of　the
  head　nurse；　near　the　middle　of　the　composition；　she　has　now　the
  infant　in　full　charge；　and　is　showing　it　to　St。　Joachim；　with　an
  expression　as　though　she　were　telling　him　that　her　husband　was　a
  merry　man。　　I　am　afraid　Shakespeare　was　dead　before　the　sculptor　was
  born；　otherwise　I　should　have　felt　certain　that　he　had　drawn
  Juliet's　nurse　from　this　figure。　　As　for　the　little　Virgin　herself；
  I　believe　her　to　be　a　fine　boy　of　about　ten　months　old。　　Viewing　the
  work　as　a　whole；　if　I　only　felt　more　sure　what　artistic　merit　really
  is；　I　should　say　that；　though　the　chapel　cannot　be　rated　very　highly
  from　some　standpoints；　there　are　others　from　which　it　may　be　praised
  warmly　enough。　　It　is　innocent　of　anatomy…worship；　free　from
  affectation　or　swagger；　and　not　devoid　of　a　good　deal　of　homely
  naivete。　　It　can　no　more　be　compared　with　Tabachetti　or　Donatello
  than　Hogarth　can　with　Rembrandt　or　Giovanni　Bellini；　but　as　it　does
  not　transcend　the　limitations　of　its　age；　so　neither　is　it　wanting
  in　whatever　merits　that　age　possessed；　and　there　is　no　age　without
  merits　of　some　kind。　　There　is　no　inscription　saying　who　made　the
  figures；　but　tradition　gives　them　to　Pietro　Aureggio　Termine；　of
  Biella；　commonly　called　Aureggio。　　This　is　confirmed　by　their　strong
  resemblance　to　those　in　the　Dimora　Chapel；　in　which　there　is　an
  inscription　that　names　Aureggio　as　the　sculptor。
  The　sixth　chapel　deals　with　the　Presentation　of　the　Virgin　in　the
  Temple。　　The　Virgin　is　very　small；　but　it　must　be　remembered　that
  she　is　only　seven　years　old；　and　she　is　not　nearly　so　small　as　she
  is　at　Crea；　where；　though　a　life…sized　figure　is　intended；　the　head
  is　hardly　bigger　than　an　apple。　　She　is　rushing　up　the　steps　with
  open　arms　towards　the　High　Priest；　who　is　standing　at　the　top。　　For
  her　it　is　nothing　alarming；　it　is　the　High　Priest　who　appears
  frightened；　but　it　will　all　come　right　in　time。　　The　Virgin　seems　to
  be　saying；　〃Why；　don't　you　know　me？　　I'm　the　Virgin　Mary。〃　　But　the
  High　Priest　does　not　feel　so　sure　about　that；　and　will　make　further
  inquiries。　　The　scene；　which　comprises　some　twenty　figures；　is
  animated　enough；　and　though　it　hardly　kindles　enthusiasm；　still　does
  not　fail　to　please。　　It　looks　as　though　of　somewhat　older　date　than
  the　Birth　of　the　Virgin　chapel；　and　I　should　say　shows　more　signs　of
  direct　Valsesian　influence。　　In　Marocco's　book　about　Oropa　it　is
  ascribed　to　Aureggio；　but　I　find　it　difficult　to　accept　this。
  The　seventh；　and　in　many　respects　most　interesting　chapel　at　Oropa；
  shows　what　is　in　reality　a　medieval　Italian　girl　school；　as　nearly
  like　the　thing　itself　as　the　artist　could　make　it；　we　are　expected；
  however；　to　see　in　this　the　high…class　kind　of　Girton　College　for
  young　gentlewomen　that　was　attached　to　the　Temple　at　Jerusalem；
  under　the　direction　of　the　Chief　Priest's　wife；　or　some　one　of　his
  near　female　relatives。　　Here　all　well…to…do　Jewish