THE XVII AND THE XVIII CENTURY
The rooms housed the collections of the XVII and XVIII centuries preserve the sculptures and furnishings from the Valsesia churches and from the collection of the Marques D’Adda, a Milanese family which, having joined the Scarognino family, which became the most important of Varallo.
This section opens with a selection of works by the painter Pier Francesco Gianoli (Campertogno, 1624-1690), main figure of the local XVII Century, greatly influenced by Tanzio. The Crucifixion (c. 1675 – 1690) and the paintings representing (c. 1668) all come from the church of Varallo of the same name, torn down in 1931, whilst the paintings Transfiguration of Christ, Saint Gotthard and Saint Gaudentius (c. 1658-1659) were commissioned for polyptych in the chapel of the ancient Hospital of the Holy Trinity in Varallo, grounded in 1556 by father Giuseppe Maio.
Gianoli was also charged of the frescoes in the chapel of Saint Anne in the Sacro Monte, from which come the terracotta statues by Gaudenzio Sceti (Varallo, 1617 – 1698 Saint Anne, the Virgin and the Child, dated around 1655-1656 like the now lost paintings.
Another piece once held in the Hospital is the refined statue of local manufacture , of painted and gilded wood, dated around the half of the XVII Century.
The fragments Vision of Pope Honorius III come from another chapel situated close to the church of Santa Maria delle Grazie in Varallo, demolished in 1889: these freosces were realised by the Bergamo painters Giuseppe (1609 – 1669) and Giovanni Stefano (1612 – 1690) Danedi, called Montalti.
Giovanni Antonio De Groot (1664 – 1712), of Flemish roots, is the author of the Madonna of Mount Carmel, from the oratory in Oro near Boccioleto, for which he was paid in 1710, and of the two oval landscapesFlight into Egypt and Baptism Scene from D’Adda Palace; the third landscape, Pastoral View, was realised by the Agnona painter Giuseppe Antonio Pianca (1703 – post 1762).
The anonymous painting Presentation of the Virgin into the Temple, is a recent donation: dated to the XVII Century and of probable Piedmont origin, this work is still under study. The big Still Nature dated to the end of the Century is ascribed to Nicolas van Houbraken (c. 1660 – 1723), born to a Flemish family in Messina and infuenced by the Tuscan environment, in particular by the geritage of Jacopo Chimenti called the Empoli. He was also ascribed the other still nature.
Kitchen with Game, Fish and Fruit, probably by a Lombardy painter influenced by Spanish art. This last piece comes from D’Adda Palace, sold in 1935 to the municipality of Varallo by the last heiress of the family, princess Laura Boncompagni Ludovisi.