Personally I find this story interesting as giving high support to the theory I have been trying to insist upon for some years past, and according to which in a certain sense a man is personally identical with all the generations in the direct line both of his ancestry and his descendants, as well as with himself. The words “Thou shalt dance for nine generations” involve one of the most important points contended for in my earlier book, “Life and Habit.” Fassola and Torrotti both say that more pilgrims left alms at this chapel than at any other. In fact they both seem to consider that this chapel did very well. “Quì,” says Torrotti, “si colgano elemosine assai,” and, as I have said already, it is here that a few autumn leaves of waxen images still linger. A few weeks ago I saw the original document in which the story above given was attested. It was dated 1671, and signed, stamped, and sealed as a document of the highest importance. I noticed that in this manuscript, it was a voice that was heard, and not as in Fassola a letter that was found. CHAPEL NO. 32. CHRIST AT THE STEPS OF THE PRETORIUM. This is not mentioned in the 1586 edition of Caccia, perhaps as being a poor and unimportant work. Fassola says that some of the frescoes, as well as of the statues, which, he says, are of wood, were by Gaudenzio. The other statues are given both by Fassola and Torrotti to D’Enrico, and the paintings to Gianoli, a wealthy Valsesian amateur who lived at Campertogno. Bordiga gives the statues to Ferro, already mentioned as a pupil of D’Enrico, but whoever did them, they are about as bad as they can be—too bad, I should say, for Giacomo Ferro, and I am not sure that they are not of wood even now. No traces of Gaudenzio’s frescoes remain. The chapel seems to have been reconstructed in connection with the _replica_ of the Scala Santa up which Christ is going to be conducted. We have seen that the design for these stairs was procured from Rome in 1608 by Francesco Testa, who was then Fabbriciere. CHAPEL NO. 33. ECCE HOMO.