[Picture: Seal] Signor Arienta had told me there was a seal on the back of a figure in the Journey to Calvary chapel; on examining this I found it to show a W, with some kind of armorial bearings underneath. I have not been able to find anything like these arms, of which I give a sketch herewith: they have no affinity with those of the de Wespin family, unless the cups with crosses under them are taken as modifications of the three-footed caldrons which were never absent from the arms of Dinant copper-beaters. Tabachetti (for I shall assume that the seal was placed by him) perhaps sealed this figure as an afterthought in 1610, being unable to cut easily into the hard-baked clay, and if he could have Italianised the W he would probably have done so. I should say that I arrived at the Ecce Homo figure as a portrait of Tabachetti before I found the V cut upon the hat; I found the V on examining the portrait to see if I could find any signature. It stands next to a second portrait of Leonardo da Vinci by Gaudenzio Ferrari, taken into the Ecce Homo chapel, doubtless, on the demolition of some earlier work by Gaudenzio on or near the same site. I knew of this second portrait of Leonardo da Vinci when I published my first edition, but did not venture to say anything about it, as thinking that one life-sized portrait of a Leonardo da Vinci by a Gaudenzio Ferrari was as much of a find at one time as my readers would put up with. I had also known of the V on Tabachetti’s hat, but, having no idea that his name was de Wespin, had not seen why this should help it to be a portrait of Tabachetti, and had allowed the fact to escape me. The figure next to Scotto in the Ecce Homo chapel is, I do not doubt, a portrait of Giovanni D’Enrico. This may explain the tradition at Varallo that Scotto is Antonio D’Enrico, which cannot be. Next to Giovanni D’Enrico stands the second Leonardo da Vinci, and next to Leonardo, as I have said, Tabachetti. In the chapel by Gaudenzio, from which they were taken, the figures of Leonardo and Scotto probably stood side by side as they still do in the Crucifixion chapel. I supposed that Tabachetti and D’Enrico, who must have perfectly well known who they were, separated them in order to get Giovanni D’Enrico nearer the grating. It was the presumption that we had D’Enrico’s portrait between Scotto and Leonardo, and the conviction that Tabachetti also had worked in the chapel, that led me to examine the very beautiful figure on the father side of Leonardo to see if I could find anything to confirm my suspicion that it was a portrait of Tabachetti himself.