7. The Flagellation. Tabachetti has a chapel with this subject at Varallo, and the Saas group is obviously a descent with modification from his work there. The figure of Christ is so like the one at Varallo that I think it must have been carved by Tabachetti himself. The man with the hooked nose, who at Varallo is stooping to bind his rods, is here upright: it was probably the intention to emphasise him in the succeeding scenes as well as this, in the same way as he has been emphasised at Varallo, but his nose got pared down in the cutting of later scenes, and could not easily be added to. The man binding Christ to the column at Varallo is repeated (_longo intervallo_) here, and the whole work is one inspired by that at Varallo, though no single figure except that of the Christ is adhered to with any very great closeness. I think the nearer malefactor, with a goitre, and wearing a large black hat, is either an addition of the year 1709, or was done by the journeyman of the local sculptor who carved the greater number of the figures. The man stooping down to bind his rods can hardly be by the same hand as either of the two black-hatted malefactors, but it is impossible to speak with certainty. The general effect of the chapel is excellent, if we consider the material in which it is executed, and the rudeness of the audience to whom it addresses itself. 8. The Crowning with Thorns. Here again the inspiration is derived from Tabachetti's Crowning with Thorns at Varallo. The Christs in the two chapels are strikingly alike, and the general effect is that of a residuary impression left in the mind of one who had known the Varallo Flagellation exceedingly well.