The sculptor’s grandfather, Perpète de Wespin, was the first to take the sobriquet of Tabaguet, and though in the deeds which I have seen at Namur the name is always given as “de Wespin,” yet the addition of “dit Tabaguet” shows that this last was the name in current use. His father and mother, and a sister Jacquelinne, under age, appear to have all died in 1587. Jean de Wespin, the sculptor, is mentioned in a deed of that date as “expatrié,” and he has a “gardien” or “tuteur,” who is to take charge of his inheritance, appointed by the Court, as though he were for some reason unable to appoint one for himself. This lends colour to Fassola’s and Torrotti’s statement that he lost his reason about 1586 or 1587. I think it more likely, however, considering that he was alive and doing admirable work some fifty years after 1590, that he was the victim of some intrigue than that he was ever really mad. At any rate, about 1587 he appears to have been unable to act for himself. If his sister Jacquelinne died under age in 1587, Jean is not likely to have been then much more than thirty, so we may conclude that he was born about 1560. There is some six or eight years’ work by him remaining at Varallo, and described as finished in the 1586 edition of Caccia. Tabachetti, therefore, must have left home very young, and probably went straight to Varallo. In 1586 or 1587 we lose sight of him till 1590 or 1591, when he went to Crea, where he did about forty chapels—almost all of which have perished. On again visiting Milan I found in the Biblioteca Nazionale a guide-book to the Sacro Monte, which was not in the Biblioteca Ambrosiana, and of whose existence I had never heard. This guide-book was published in 1606 and reissued in 1610; it mentions all changes since 1590, and even describes chapels not yet in existence, but it says nothing about Tabachetti’s First Vision of St. Joseph chapel—the only one of his chapels not given as completed in the 1590 edition of Caccia. I had assumed too hastily that this chapel was done just after the 1590 edition of Caccia had been published, and just before Tabachetti left for Crea in 1590 or 1591, whereas it now appears that it was done about 1610, during a short visit paid by the sculptor to Varallo some twenty years after he had left it. Finding that Tabachetti returned to Varallo about 1610, I was able to understand two or three figures in the Ecce Homo chapel which I had long thought must be by Tabachetti, but had not ventured to ascribe to him, inasmuch as I believed him to have finally left Varallo some twenty years before the Ecce Homo chapel was made. I have now no doubt that he lent a hand to Giovanni D’Enrico with this chapel, in which he has happily left us his portrait signed with a V (doubtless standing for W, a letter which the Italians have not got), cut on the hat before baking, and invisible from outside the chapel.