“The group of ten figures in terra-cotta represents the three kings just arrived with their immediate attendants, and alighting at the door of an inner recess, where a light burns over the manger of Bethlehem, and in which is a simple but exquisite group of St. Joseph, the Virgin, and Child. On the walls of the chapel are painted in fresco a crowd of followers, the varieties of whose costumes, attitudes, and figures are most cleverly portrayed. In modelling the horses which form part of the central group, Ferrari was assisted by his pupil Fermo Stella.”—[Fermo Stella is not known to have been a pupil of Gaudenzio’s, and was probably established as a painter before Gaudenzio began to work at all.]—“But the greatest of all Gaudenzio’s achievements is the large chapel of the Crucifixion, a work of the most extraordinary character and masterly execution. His first design for the subject, on the screen of the Minorite Church, he has here carried out in life-like figures in terra-cotta; twenty-six of which form the centre group, embodying the events of the Passion; while round the walls are depicted with wonderful power a crowd of spectators, numbering some 150, most of whom are gazing at the central figure of the Saviour on the cross. The variety of expression, costume, and character is almost infinite. Round the roof are twenty angels in the most varied and graceful attitudes, deserving of special attention; and also a hideous figure of Lucifer.” Gaudenzio’s devils are never quite satisfactory. His angels are divine, and no one can make them cry as he does. When my friend Mr. H. Festing Jones met a lovely child crying in the streets of Varallo last summer, he said it was crying like one of Gaudenzio’s angels; and so it was. Gaudenzio was at home with everything human, and even superhuman, if beautiful; if it was only a case of dealing with ugly, wicked, and disagreeable people, he knew all about this, and could paint them if the occasion required it; but when it came to a downright unmitigated devil, he was powerless. He could never have done Tabachetti’s serpent in the Adam and Eve Chapel, nor yet the plausible fair-spoken devil, as in the Temptation Chapel, also by Tabachetti. To conclude my extracts from Mr. King. Speaking of the Crucifixion Chapel, he says:— “Though this combination of terra-cotta and fresco may not be as highly esteemed in the present day as in the times when this extraordinary sanctuary sprang into existence, yet this composition must always be admired as one of the greatest of Ferrari’s works, and undoubtedly that on which he lavished the full force of his genius and the collected studies and experience of his previous artist life.”