17. Transfiguration. 18. Raising of Lazarus. 19. Entry into Jerusalem. 20. Last Supper. 21. Agony in the Garden. 22. Sleeping Apostles. 23. Capture. 24. Caiaphas, and Penitence of St. Peter. 25. Christ before Pilate. 26. Christ before Herod. 27. Christ sent again to Pilate. 28. Flagellation. 29. Crowning with thorns. 30. Christ about to ascend the Santa Scala (not shown on plan). 31. Ecce Homo. 32. Pilate washes his hands. 33. Christ condemned to death. 34. Christ carrying the Cross. 35. Nailing to the Cross. 36. Passion. 37. Deposition from the Cross. 38. Pietà. 39. Entombment (not shown on plan). 40. Chapel of St. Francis. 41. Holy Sepulchre. 42. Appearance to Mary Magdalene. 43. Infancy of the Virgin. 44. Sepulchre of the Virgin. 45. Sepulchre of St. Anne. 46. Ascended Christ over the fountain. 47. Chiesa Vecchia. 48. Chiesa Maggiore. The view is a bird’s-eye one, and there is hardly any hill in reality. [Picture: Plate I: Plan of the Sacro Monte in 1671] CHAPTER VI. _PRELIMINARY CONSIDERATIONS_. THE foregoing outline of the history of the work must suffice for the present. I will reserve further remarks for the space which I will devote to each individual chapel. As regards the particular form the work took, I own that I have been at times inclined to wonder whether Leonardo da Vinci may not have had something to do with it. Between 1481 and the end of 1499 he was in Milan, and during the later years of this period was the chief authority on all art matters. It is not easy to think that Caimi, who was a Milanese, would not consult him before embarking upon an art enterprise of the first magnitude; and certainly there is a something in the idea of turning the full strength of both painting and sculpture at once on to a single subject, which harmonises well with the magnificent rashness of which we know Leonardo to have been capable, and with the fact that he was both a painter and a sculptor himself. There is, however, not one scrap of evidence in support of this view, which is based solely on the fact that both the scheme and Leonardo were audacious, and that the first is little likely to have been undertaken without counsel from the second. The actual evidence points rather, as already indicated, in the direction of thinking that the frescoes began outside the chapels, got inside them for shelter, and ere long claimed the premises as belonging no less to themselves than to the statues. The idea of treating full-relief sculptured figures with a view to a pictorial rather than sculpturesque effect was in itself, as undertaken when Gaudenzio was too young to have had a voice in the matter, a daring innovation, even without the adjunct of a fresco background; and the idea of taking a mountain as though it were a book, and illustrating it with a number of such groups, was more daring still.