I have already spoken of chapel No. 45, which once represented an entombment of the Madonna, as in all probability the oldest building, and as certainly containing the oldest, and by no means least interesting frescoes on the Sacro Monte. There is nothing inside the chapel except these frescoes, but outside it there are many scrawls, of which the earliest I have noticed is 1520—the supposed 1437 being certainly 1537. The writer of one of these scrawls has added the words “fuit hic” to his signature as John Van Eyck has done to the signature of his portrait of John Arnolfini and his wife. I have found this addition of “fuit hic” in a signature of a certain “Cardinalis de al . . . ” who scratched his name “1389 die 19 Mag” on a fresco to the left of the statue of S. Zenone in the church S. Zenone at Verona. On a fresco in the very interesting castle of Fénis in the valley of Aosta, to which I hope to return in another work, there is scratched “Hic sponsus cum sponsâ fuit 1790 25 May,” the “May” being an English May; Jones and I thought the writer had begun to add “London” but had stopped. The “fuit hic,” therefore, of John Van Eyck’s signature should not be translated as we might be tempted to wish to translate it, “This was John Van Eyck.” Returning to the Sacro Monte, there remains only the Chiesa Vecchia, removed at the end of the last century to make room for the building that was till lately the “_casa degli esercizi_,” or house in which the priests on the mountain performed their spiritual exercises. This is now let out in apartments during the summer, and is called the Casino. The old sacristy, now used as the _archivio_ of the Sacro Monte, still remains, and contains a fresco by Lanini, that bears strong traces of the influence of his master Gaudenzio. Besides the impress of Christ’s foot and the Assumption of the Virgin, the church contained an Annunciation by Gaudenzio and frescoes of St. Catherine and St. Cecilia; the Cupola was also decorated by him. This work was undertaken in 1530, the greater angels being by Gaudenzio and the smaller by Lanini and Fermo Stella. These frescoes all perished when the church was pulled down.