This chapel is described as completed in both the 1586 and 1590 editions of Caccia. The figures are again given to Fermo Stella by Bordiga, but not by either Fassola or Torrotti. I am again unable to think that Bordiga is right. There is again, also, a sub-Flemish feeling which is difficult to account for. The angel is a fine figure, and the heads of the Virgin and Child are also excellent, but the folds of the drapery are not so good. If there were any evidence, which there is not, to show that these figures were early works of Tabachetti, and that the sleeping St. Joseph is a first attempt at the figure which he succeeded later so admirably in rendering, I should be inclined to accept it; as it is, I can form no opinion about the authorship of the terra-cotta work. The fresco background is worthless. CHAPEL NO. 10. THE FLIGHT INTO EGYPT. This chapel is of no great interest. The authors and the date are uncertain. It is mentioned in the 1586 and 1590 editions of Caccia, but we may be tolerably sure that Tabachetti had nothing to do with it. Bordiga says “the figures seem to be by Stella,” which may be right or may be wrong. Though the figures are not very good, yet this chapel has, or had in Fassola’s time, other merits perhaps even of greater than artistic value, for he says it is particularly useful to those who have lost anything. “_Perditori di qualche cosa_” are more especial recipients of grace in consequence of devotion at this particular chapel. The flight is conducted as leisurely as flights into Egypt invariably are, but has with it a something, I know not what—perhaps it is the donkey—which always reminds me of Hampstead Heath on a bank holiday. CHAPEL NO. 11. MASSACRE OF THE INNOCENTS. This is one of the most remarkable chapels on the Sacro Monte, and also one of the most abounding in difficult problems. It was built with funds provided by Carlo Emanuele I., Duke of Savoy, about the year 1586, and took four years to complete. In the 1586–7 edition of Caccia the chapel itself is alone given as completed. In the 1590–1 edition, it is said that both the sculptures and the frescoes were now finished, and that they are all “_bellissime e ben fatti_ (_sic_).” This is confirmed by an inscription on the collar of a soldier who stands near Herod’s right hand, and which, I do not doubt, is intended to govern the whole of the terra-cotta work. The inscription runs— “Michel Ang. RSTI” (Rossetti) “Scul: Da Claino MDXC Etate an. VIIL” This exactly tallies with the dates given in the two editions of Caccia. [Picture: The Massacre of the Innocents. Chiefly by Giannantonio (or Giacomo) Paracca, otherwise called Bargnola; but finished by Michael Angelo Rossetti]