The only other thing that struck us at Crea was the Virgin in the Presentation chapel. She is so much too small that one feels as though there must be some explanation that is not obvious. She is not more than 2 ft. 6 in. high, while the High Priest, and Joachim and St. Anne are all life-sized. The Chief Priest is holding up his hands, and seems a good deal surprised, as though he were saying—“Well, St. Anne my dear, I must say you are the very smallest Virgin that I ever had presented to me during the whole course of my incumbency.” Joachim and St. Anne seem very much distressed, and Joachim appears to be saying, “It is not our fault; I assure you, sir, we have done everything in our power. She has had plenty of nourishment.” There must be some explanation of the diminutive size of the figure that is not apparent. CHAPTER XVII. CONCLUSION. RETURNING to Varallo, in the town itself the most important work is the fresco by Gaudenzio Ferrari in the church of Sta. Maria delle Grazie, already several times referred to. The reader will find it fully described in the pages of Colombo; moreover, in January last Signor Pizetta took excellent negatives of all the compartments into which the work is divided, and I learn that he has sent impressions—put together so as to give a very good idea of the work—to the Italian Exhibition that will open as these pages leave my hands. I have myself also sent to the same Exhibition a few unreduced impressions from the negatives used in the illustrations that face earlier pages: these will give the reader a more correct impression of the works from which they are taken than he can get from the reduction. I do not yet know whether they will be hung. The fresco of Sta. Petronilla painted by Gaudenzio by moonlight on a chapel just outside the town, is now little more than a wreck. There are a few works by Gaudenzio of no great importance in the Pinacoteca of the Museum; a few frescoes by Lanini, one or two drawings by Tanzio D’Enrico, which show that he was a well-trained draughtsman; two pictures by him, _barocco_ in character, but not without power, and other works of more or less interest, are also in the Pinacoteca. In the parish church of S. Gaudenzio, behind the altar, there is an exceedingly fine Ancona by Gaudenzio, to which I have already referred. Over an altar in the north transept, but for the most part hidden behind a painted _tela_, is Tabachetti’s very beautiful Madonna del Rosario, which the visitor should ask the Sacristan to show him; and last, but hardly least, there is a Madonna by Dedomenici of Rossa—a village higher up the Valsesia—painted on linen, in the chapel dedicated to St. Joseph.