In those in which he was undoubtedly assisted by Giacomo Ferro, as for example the Caiaphas, Herod, four Pilate, and Nailing to the Cross chapels, with possibly the Ecce Homo, perhaps the safest rule will be to give the few really excellent figures that are to be found in each of them to D’Enrico himself and to ascribe all the inferior work, of which unfortunately there is too much, to Giacomo Ferro. That the assistance rendered by him was on a very large scale may be gathered from the fact that there was a deed drawn up between him and his master whereby he was to receive half the money that was paid to D’Enrico,—a quasi partnership indeed seems to have existed between the two sculptors. This deed is referred to by Signor Galloni on page 178 of his “Uomini e Fatti,” and on the same page he gives us an extract from a lawsuit between Giacomo Ferro and the town of Varallo which gives us a curious insight into the manner in which the artists of the Sacro Monte were paid. From a _procès-verbal_ in connection with this suit Signor Galloni quotes the following extract:— “And further the said deputies allege that in the accounts rendered by the said master Giovanni D’Enrico in respect of the pontifical thrones in the Caiaphas and Nailing to the Cross chapels, these have been valued at the rate of four statues for each several throne and horse, whereas it appears from old accounts rendered by other statuaries that they have been hitherto charged only at the rate of three statues for each throne and horse. Wherefore the said deputies claim to deduct the overcharge of one statue for each horse and throne, which being thirteen at the rate of 10 and a quarter scudi for each figure, would give a total deduction of 132 and a half scudi.” It appears in another part of the same _procès-verbal_ that Giovanni D’Enrico had been paid in 1640 the sum of 4240 lire and 8 soldi. Giacomo Ferro and his brother Antonio were Giovanni D’Enrico’s heirs, from which it would appear that he either died unmarried, or left no children.