Fassola, Torrotti, and Bordiga all call this one of the best chapels, but neither Jones nor I could see that it was nearly so successful as the preceding. The seventeen modelled figures are by Giovanni D’Enrico, and the frescoes by his brother Antonio or Tanzio. One or two of the figures—especially a man putting his finger to his mouth derisively, are excellent, but the Pilate is a complete failure; and it is hard to think it can have been done, as it probably nevertheless was, by the sculptor of the Caiaphas and Herod figures. Bordiga says that a contract was made with Caccia (not the historian), called Moncalvo, for the frescoes. This was the painter who did the backgrounds for the Crea chapels, but the contract was never carried out, probably because Antonio D’Enrico returned from Rome. It was dated November 1616, so that the terra-cotta figures probably belong to this year or to those that immediately preceded it. CHAPEL NO. 35. CHRIST CONDEMNED TO DEATH. This is better than the preceding chapel, and contains some good individual figures. The statues are twenty-seven in number, and were modelled by D’Enrico prior to the year 1614, in which year Morazzone was paid twelve hundred imperiali for having painted the frescoes, so that it was one of his earlier works, but the Pilate is again a failure. People who have been badly treated, and who have suffered from some injustice, are more especially recommended by Fassola “to try this Christ, who moves the pity of all who look upon Him.” He continues that it was the intention to add some other chapels at the end of the portico of the Palazzo di Pilato, but this intention was not carried out. Bordiga calls attention to the view on the right, looking over Varallo and the Mastallone, as soon as the portico is passed. CHAPTER XIII. _MYSTERIES OF THE PASSION AND DEATH_. [Picture: Plate XII. Tabachetti’s “Journey to Calvary.” General view to the right] THE Palazzo di Pilato is now ended, and we begin with the mysteries of the Passion and Death of the Redeemer, the first of which is set forth in CHAPEL NO. 36. THE JOURNEY TO CALVARY.