I am confirmed in this opinion by noting, as I have done for many years past, that the figure next to that of Scotto is not unlike the portraits of Leonardo da Vinci, of which I give the one (whether by himself or no I do not know) that I believe to be the best. I had been reminded of Leonardo da Vinci by this figure long before I knew of Scotto’s existence, and had often wondered why he was not made the outside and most prominent figure; now, then, that I see reason to think the outside figure intended for Gaudenzio’s own master, I understand why the preference has been given him, and have little doubt that next to his own master Gaudenzio has placed the other great contemporary art-teacher at Milan whose pupil he never actually was, but whose influence he must have felt profoundly. I also derive an impression that Gaudenzio liked and respected Scotto though he may have laughed at him, but that he did not like Leonardo, who by the way had been dead about ten years when this figure was placed where it now is. I see, therefore, the two figures as those of Scotto and of Leonardo da Vinci, and think it likely that in the one portrait we have by far the most characteristic likeness of Leonardo that has come down to us. In his own drawings of himself he made himself out such as he wanted others to think him; here, if I mistake not, he has been rendered as others saw him. The portrait of Scotto is beyond question an admirable likeness; it is not likely that the Leonardo is less successful, and we find in the searching, eager, harassed, and harassing unquiet of the figure here given a more acceptable rendering of Leonardo’s character and appearance than any among the likenesses of himself which are more or less plausibly ascribed to him. The question is one of so much interest that I must defer its fuller treatment for another work, in which I hope to deal with the portraits of Giovanni and Gentile Bellini, and with Holbein’s “Danse des Paysans.” I have, however, given above the greater part of the information of which I am as yet possessed upon the subject. In conclusion, I may say that I mentioned the matter to Signor Boccioloni the Sindaco of Varallo, and to other friends with whom I have discussed the question on the spot, and found that people generally seemed to consider the case as rather a strong one. As regards the portraits supposed to be found on the frescoes, they are all so doubtful that I will refrain from discussing them, but will refer my readers to Colombo. The only exception is a portrait of one of the Scarrognini family which is seen on the right-hand wall above the door, the fact of the portraiture being attested by a barbarous scrawl upon the fresco itself. Caccia says of the work with more enthusiasm than even I can command, but in a style of poetry which I find it fairly easy to render, that we may see among the spectators “ . . . à maraviglia, Vi son più donne con la sua famiglia;” which means in English—