The intercalated figures have been fitted into the work with admirable skill, nevertheless they do not form part of design, and make it want the unity observable in the work of Tabachetti and Gaudenzio. They have been lugged into the composition, and no matter how skilful their introduction, are soon felt, as in the case of the Vecchietto, to have no business where they are. Moreover, D’Enrico shows his figures off, which Tabachetti never does: the result is that in his chapels each figure has its attention a good deal drawn to the desirableness of neither being itself lost sight of, nor impeding the view of its neighbours. This is fatal, and though Giacomo Ferro is doubtless more practically guilty in the matter than D’Enrico, yet D’Enrico is the responsible author of the work, and must bear the blame accordingly. Standing once with Signor Pizetta of Varallo, before D’Enrico’s great Nailing of Christ to the Cross chapel, I asked him casually how he thought it compared with Tabachetti’s Journey to Calvary. He replied “_Questo non sacrifica niente_,” meaning that Tabachetti thought of the action much and but little of whether or no the actors got in each other’s way, whereas D’Enrico was mainly bent on making his figures steer clear of one another. Thus his chapels want the concert and unity of action that give such life to Tabachetti’s. Nevertheless, in spite of the defect above referred to, it is impossible to deny that the sculptor of the Herod and Caiaphas figures was a man of very rare ability, nor can the general verdict which assigns him the third place among the workers on the Sacro Monte be reasonably disputed. But this third place must be given rather in respect of quantity than quality, for in dramatic power and highly-wrought tragic action he is inferior to the sculptor, whoever he may be, of the Massacre of the Innocents chapel, to which I will return when I come to the chapel in question. I may say in passing that Cicognara, Lübke, and Perkins have all omitted to mention Giovanni D’Enrico as a sculptor, though Nagler mentions his two brothers as painters. Nagler gives the two brothers D’Enrico as all bearing the patronymic Tanzio, which I am told is in reality only a corruption of the Christian name of the third brother. Zani mentions Giovanni D’Enrico as well as his two brothers, and calls him “_celebre_,” but he calls all the three brothers “Tanzii, Tanzi, Tanzio, or Tanzo.” CHAPTER IX. _THE ASCENT_, _AND THE FIRST FOUR CHAPELS_.