Also, like all other attempts to place a scene upon the stage, they will be found to consist of a few stars, several players of secondary importance, and a certain number of supers. It is a mistake to attempt, as I am told is attempted at the _Comédie Française_, to have all the actors of first-class merit. They kill one another even in a picture, and on the whole in any work of art it is better to concentrate the main interest on a sufficient number of the most important figures, and to let the setting off of these be the chief business of the remainder. Gaudenzio Ferrari hardly understood this at all, and has no figures which can be considered as mere stage accessories. Tabachetti understood it, but could hardly bring himself down to the level of his supers. D’Enrico understood it perhaps a shade too well; he was a man of business as well as of very considerable genius, and turned his supers over to Giacomo Ferro, who might be trusted to keep them sufficiently commonplace to show his own work to advantage. It must be owned, however, that the greater number of D’Enrico’s chapels would be better if there had been a little more D’Enrico in them and less Giacomo Ferro, and if the D’Enrico had been always taking pains. We, of course, should have preferred the figures in the Varallo chapels to be all of them as realistic as the artist could make them, provided he chose good types, as a good man may be very well trusted to do. Whenever we get a bit of realism as in the Eve, and Sleeping St. Joseph of Tabachetti, in the Herod, laughing boys, and Caiaphas of D’Enrico, and still more in the Vecchietto, or in the three or four of the figures in the St. Eusebius Chapel at Crea, we accept it with avidity, and we may be sure that the masters who gave us the figures above-named could have given us any number equally realistic if they had been inclined to do so. Tabachetti’s instinct was certainly towards realism as far as he dared, but even he is not in most cases realistic—not, I mean, in the sense of making his personages actual life-like portraits. That he was not more so than he is is probably due to some of the considerations on which I have above imperfectly dwelt, and to others that have escaped myself, but were patent enough to him.