“And here you may behold with wondering eyes, Several ladies with their families.” He continues that “Gli Angeli star nel ciel tutti dolenti Si veggon per pietà del suo Signore, E turbati mostrarsi gli elementi, Privi del sole, e d’ ogni suo splendore, E farsi terremoti, e nascer venti, Par che si veda, d’ estremo dolore, E il tutto esser non pinto ne in scultura, Ma dell’ istesso parto di Natura. “E se a pieno volessi ricontare Di questo tempio la bellezza, e l’ arte, Le statue, le pitture, e l’ opre rare, Saria (?) un vergar in infinite carte Che non han queste in tutto il mondo pare, Cerchisi pur in qual si voglia parte, Che di Fidia, Prasitele, e d’ Apelle, Ne di Zeuxi non fur l’ opre si belle.” “Search the world through in whatsoever part, And scan each best known masterpiece of art, In Phidias or Praxiteles or Apelles, You will find nothing that done half so well is.” In this translation I have again attempted to preserve—not to say pickle—the spirit of the original. [Picture: Plate XX. Gaudenzio Ferrari’s “Crucifixion.” The Bad Thief] Returning to the work as a whole, if the modelled figures fail anywhere it is in respect of action—more especially as regards the figures to the spectator’s right, which want the concert and connection without which a scene ceases to be dramatic, and becomes a mere assemblage of figures placed in juxtaposition. It would be going too far to say that complaint on this score can be justly insisted on in respect even of these figures; nevertheless it will be felt that Gaudenzio Ferrari the painter could harmonise his figures and give them a unity of action which was denied to him as a sculptor. It must not be forgotten that his modelled work derives an adventitious merit from the splendour of the frescoes with which it is surrounded, and from our admiration of the astounding range of power manifested by their author.