At Varese there is a very beautiful lady, one among many others hardly if at all less beautiful on the same mountain, of whom I once asked what people did with these _Corone_. She said, “_Le adoperano per pregare_,” “They make use of them to pray with.” She then asked whether the English ever prayed. I said of course they did; that all nations, even the Turks, prayed. “_È Turco lei_?” she said, with a singularly sweet, kind, and beneficent expression. I said I was not, but I do not think she believed me. Passing now under the handsome arch which forms the main entrance to the sacred precincts we come to CHAPEL NO. 1. ADAM AND EVE. This chapel is perhaps the only one in the case of which Pellegrino Tibaldi’s design was carried out; and even here it has been in many respects modified. The figures are by Tabachetti; and the original internal frescoes were by Domenico Alfani Perugino, but they have perished and have lately been replaced by some pieces from the life of Adam and Eve by Professor Burlazzi of Varallo. The outer frescoes are said by Bordiga to be by Giovanni Miel of Antwerp, but they are probably in reality by one of the brothers Battista and Gio. Mauro Rovere. I will, however, reserve remarks on this subject until I come to the Massacre of the Innocents chapel. The original frescoes do not appear to have been executed till 1594–1600, but the terra-cotta work is described as complete in the 1586 edition of Caccia in terms that leave no doubt but that the present group is intended; it is probably among the first works executed by Tabachetti on the Sacro Monte, but how much earlier it is than 1586 cannot be known till the missing editions of Caccia are found. That he did the Adam and Eve is not doubted. If he also did the animals, he had made great progress by the time he came to the Temptation chapel, for the animals in this last chapel are far finer than those in the Adam and Eve chapel. The present chapel superseded an earlier one with the same subject, which was probably on the site now occupied by the Crowning with Thorns, inasmuch as in this chapel the fresco on one wall still represents Adam and Eve being dismissed from Paradise. Signor Arienta pointed this out to me, and I think it sufficiently determines the position of the original Adam and Eve chapel. The evidence for the existence of the earlier chapel throws so much light upon the way in which figures have been shifted about and whole chapels have disappeared, leaving only an incidental trace or two behind them in some other of those now existing, that I shall not hesitate to reproduce it here.