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MRAP Directory 18
Page 07
In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chance in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, analogous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.
The war was now confined to Sicily; but, since the defeat of Regulus, the Roman soldiers had been so greatly alarmed by the elephants, that their generals did not venture to attack the Carthaginians. At length, in B.C. 250, the Roman proconsul, L. Metellus, accepted battle under the walls of Panormus, and gained a decisive victory. The Carthaginians lost 20,000 men; 13 of their generals adorned the triumph of Metellus; and 104 elephants were also led in the triumphal procession. This was the most important battle that had been yet fought in Sicily, and had a decisive influence upon the issue of the contest. It so raised the spirits of the Romans that they determined once more to build a fleet of 200 sail. The Carthaginians, on the other hand, were anxious to bring the war to an end, and accordingly sent an embassy to Rome to propose an exchange of prisoners, and to offer terms of peace.
Tarquin commenced his reign without any of the forms of election. One of his first acts was to abolish all the privileges which had been conferred upon the Plebeians by Servius. He also compelled the poor to work at miserable wages upon his magnificent buildings, and the hardships which they suffered were so great that many put an end to their lives. But he did not confine his oppressions to the poor. All the senators and patricians whom he mistrusted, or whose wealth he coveted, were put to death or driven into exile. He surrounded himself with a body-guard, by whose means he was enabled to carry out his designs. But, although a tyrant at home, he raised the state to great influence and power among the surrounding nations, partly by his alliances and partly by his conquests. He gave his daughter in marriage to Octavius Mamilius, of Tusculum, the most powerful of the Latins, by whose means he acquired great influence in Latium. Any Latin chiefs like Turnus Herdonius, who attempted to resist him, were treated as traitors, and punished with death. At the solemn meeting of the Latins at the Alban Mount, Tarquin sacrificed the bull on behalf of all the allies, and distributed the flesh to the people of the league.
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