Both Fassola and Torrotti place this fresco on the outside wall of the chapel of St. Francis, but Bordiga is probably right in saying it was on the Entombment chapel. No trace of it remains, nor yet of the other works by Gaudenzio, which all three writers agree were in the S. Francesco chapel, though they must all have been some few years later than the chapel itself. These consisted of portraits of Milano Scarrognini with Father Beato Candido Ranzo Bernardino Caimi upon the gospel, or right, side of the altar, and of Scarrognini’s wife and son with Bernardino Caimi, on the epistle side. According to Bordiga, Gaudenzio also painted a St. Anthony of Padua, and a St. Helena, one on either side the grating. Inside the chapel over the altar was a painting of St. Francis receiving the stigmata, also by Gaudenzio. This is the only one of his works in or about the S. Francesco chapel which still exists; it is now in the pinacoteca of the Museum at Varallo, but is not, so far as I could judge of it, one of his best pictures. The other works were in a decayed condition in 1703, when they were removed, and the chapel was redecorated by Francesco Leva, a painter of Milan. The Crucifixion chapel of Gaudenzio Ferrari was begun and finished between 1520 and 1530. I have found three excellently written dates of 1529 scrawled upon the fresco background. One of them, “1529 Die 26 Octobre Johannes Antoninus,” is especially clear, and the other two leave no doubt what year was intended. I have found no earlier date, but should not be surprised if further search were more successful. I may say in passing that it seemed to me as though some parts of the scar made by the inscription had been filled with paint, while others had certainly not—as though the work had been in parts retouched, not so very long ago. I think this is so, but two or three to whom I showed what I took to be the new colour were not convinced, so I must leave others to decide the point.