Torrotti says that some of the statues in the present chapel are by Gaudenzio, which they are not. Fassola gives them all to Giovanni D’Enrico; Bordiga speaks of the work in the highest terms, but for my own part I do not admire it, nor, I am afraid, can I accept the more fresh-looking parts of the fresco background as by Gaudenzio. I do not doubt that his work has been in these parts repainted, and that the outlines alone are really his. It is not likely we have lost much by the repainting, for where the work has not been touched it has so perished as to be hardly worth preserving, and we may think that what has been repainted was in much the same state. This is the only chapel in which Gaudenzio’s frescoes at Varallo have been much repainted. If those in the Crucifixion and Magi chapels have been retouched they have taken little harm; the frescoes in the church of Sta. Maria delle Grazie have certainly not been touched, and are in such good preservation that it may be questioned whether they ever looked much better than they do now. The fine oil picture in the church of S. Gaudenzio has gone a little yellow through the darkening of the oil, but is in a good state, and generally, though no painter of the highest rank has been so much neglected, or suffered more from the actual destruction of his works, yet for the most part Gaudenzio has been spared the reckless restoration which is the most cruel ill that can befall an artist. CHAPEL NO. 41. THE ENTOMBMENT. We have already seen that this was the first chapel with figures in it on the Sacro Monte. Of the old eight wooden figures that it contained, two are still on the mountain in a sort of vault adjacent to, or under, the main church, and near the furnace in which those that superseded them were baked. Six are in the Museum at Varallo. I saw them a few weeks ago, not yet arranged, leaning up against the wall with very battered and dilapidated glories; the recumbent Christ was standing more or less on end, and the whole group was in a pathetic state of dismemberment that will doubtless soon make way for a return to their earlier arrangement. The figures are interesting, but it cannot be pretended that they are of great value. They look very much as if they had been out somewhere the night before. Of the figures in the present chapel the less said the better. REMAINING CHAPELS AND CHIESA MAGGIORE. The chapel of St. Francis is open to the air, and contains nothing but an altar, and a modern fresco of the death of the saint.