This, having regard to the terra-cotta figures alone, is by far the finest work on the Sacro Monte, and it is hardly too much to say that no one who has not seen it knows what sculpture can do. I have sufficiently shown that all the authorities, not one of whom has ever so much as seen a page of Caccia, are wrong by at least twenty years, when they say that Tabachetti completed the work in 1606. Bordiga refers, and this time I have no doubt accurately, to a deed drawn up in 1602, in accordance with which the fresco background was begun by Antonio Gandino, a painter of Brescia; this alone should have made Bordiga suspect that the terra-cotta work had been already completed, but he does not appear to have noted the fact, and goes on to say that the agreement with Gandino was cancelled by Bishop Bescapè in 1604, and that his work was destroyed, the chapel being handed over to Morazzone, who painted it in 1605, and was paid 1400 lire, besides twenty gold scudi. Morazzone has followed Gaudenzio boldly, repeating several of his fresco figures, as Tabachetti, with admirable good taste, had repeated several of his terra-cotta ones, while completely varying the action. The right-hand frescoes, and part of those on the wall opposite the spectator, have been recently cut away in squares, and relined, as the wall was perishing from damp. [Picture: Plate XIII. Tabachetti’s “Journey to Calvary.” St. John, the Madonna, with the other Maries] The statues consist of about forty figures of men, women, and children, and nine horses, all rather larger than life. They too have suffered from the effect of damp upon the paint; nevertheless, a more permanent and satisfactory kind of pigment has been used here than in most of the chapels; the work does not seem to have been much, if at all repainted, since Tabachetti left it. One figure of a child in the foreground has disappeared, the marks of its feet and two little bits of rusty iron alone show where it was; the woman who was holding it also remains without an arm. I am tempted to think that some disturbing cause has affected a girl who is holding a puppy, a little to the right of this last figure, and doubt whether something that accompanied her may not have perished; at any rate, it does not group with the other figures as well as these do with one another; this, however, is a very small blemish. The work is one that will grow upon the reader the more he studies it, and should rank as the most successfully ambitious of medieval compositions in sculpture, no less surely than Gaudenzio’s Crucifixion chapel, having regard to grandeur of scheme as well as execution, should rank as the most daring among Italian works of art in general. I am aware that this must strike many of my readers as in all probability a very exaggerated estimate, but can only repeat that I have studied these works for the last twenty years with every desire not to