We should not forget, however, that an inscription in terra-cotta cannot be surreptitiously scrawled on like a false signature on a fresco or painting. Here the signature was made with pomp and circumstance while the clay was still wet, and was baked with the figure on which it appears. Too many people in this case would have to know about it for a false inscription to be probable. As for the evidence of Fassola, we must bear in mind that he is a notoriously inaccurate writer; that he did not write till nearly a hundred years after the work was completed; that Torrotti is only an echo of Fassola, and all subsequent writers little more than echoes of Fassola and Torrotti. On the whole, therefore, the more I have considered the matter the more I incline towards accepting the signature, and giving the greater part of the terra-cotta work to the man who claims it—that is to say, to Michael Angelo Rossetti, sculptor, of Claino. Signor Arienta tells me he has found a Castel Claino mentioned in an old document, as formerly existing near Milan. He is himself inclined (though knowing nothing of Paracca when I last saw him), to see two hands in the work—and here he is probably right, but I hardly think Rossetti would have signed as he did if Bargnola or Paracca had done the greater part or even half of it. Proceeding to a consideration of the frescoes, we find that two of Herod’s body-guard, standing on his left hand, and corresponding to the one on his right, on whose collar the sculptor signed his name, have also signatures on their collars, obviously done in concert with the sculptor. The signatures are as follows:— “Battista Roveri Pictor Milane Æta XXXV” and “Io Mauro Rover Pictor.” Fassola says that the painter of the chapel was “il Fiamenghino.” If he had said the painters were “i Fiamenghini” he would have been right, for Signor Arienta called my attention to a passage in Lanzi, in which he has dealt with three painters bearing the name of Rovere, two of whom, if not all three, were called “i Fiamenghini.” The three were Giovanni Mauro, Giambattista, and Marco, which last painter does not seem to have had anything to do with the Massacre of the Innocents. Lanzi calls Gio. Mauro a follower, first of Camillo, and then of Giulio Cesare Procaccini. He describes them as painters of great facility and invention, but as seldom taking pains to do what they very well might have done, if they had chosen, and his verdict is, I should say, about right. He adds:— “I find them also called Rossetti, and they are still more often described as ‘_i Fiamenghini_,’ their father, Richard, having come from Flanders, and settled in Milan.”