In the Sacred Mount of Oropa, invented in 1620, it’s easy to
remark the repeated use of architectural models already known in other places; many chapels’ characteristics in fact, among which type
and drawing, remind you of Varallo, Orta and Crea’s complexes (built before), but which only differ on the use of local row materials.
The fact that we find complexes which reproduce already used models, supports once more the thesis concerning artists polyedric activity
–and Giovanni d’Enrico of Valsesia is the most remarkable example– which worked contemporaneously to realize many chapels in many Sacred
The Ossuccio’s founding idea bore for the emulation of the nearby Sacred Mount of Varese: the fourteen-chapels complexe, realized
between the 1623 and the 1688, has in fact an urban structure which aims to re-echo the work of Bernasconi; unluckily, after the
good beginning of building works the complexe was completed only much later, furthermore the lack of adequate financial resources
brought to simpler architectural solutions.
Three eighteenth-century chapels, characterized by the same late-baroque models already used in Orta, together with an ancient church
and a Via Crucis represented along a portico, complete the Holy Trinity’s Sacred Mount of Ghiffa.
The fourteen chapels of the Sacred Mount-Calvary of Domodossola, built according to an architectural and urban project dating back 1656
ascribed to Tommaso Lazzaro of Val d’Intelvi, were already finished in 1666; here they used mannerist types and models already adopted
in Orta, maybe following the suggestions of Bussola who, in the same period, dealt there with statues.
After 1712, following the project of an anonimous architect, charged by father Michelangelo of Montiglio, were built the simple chapels
of Belmonte; these are different elaborations of a unique model composed of a room with square- or rectangular- or elliptic-base, a
polygonal abside with a little portico close to it, from which you can see the holy scenes. All buildings are humble and small-sized,
except for the chapel of the Death on the Cross, a more stately model already used in Domodossola, that has an octagonal base with a