The statues are of no great interest, and of unknown authorship. The frescoes are by Orazio Gallinone di Treviglio, but they are not striking. The date of the chapel is about 1585. It is mentioned in the 1586 edition of Caccia, and it is added that the water of the fountain would be brought there shortly so as to imitate the Jordan. This was done, but the water made the chapel so damp that it was turned off again. The graces, according to Fassola, are chiefly for married ladies. CHAPEL NO. 13. TEMPTATION. This chapel is given as completed in the 1586 edition of Caccia, and had probably been by this time reconstructed by Tabachetti, to whom the work is universally and no doubt justly ascribed. [Picture: Plate No. VI. The Temptation in the Wilderness. By Tabchetti] That the figures of Christ and of the devil have both been cut about may be conjectured from their draperies being in part real linen or calico, and not terra-cotta; Christ’s red shirt front is real, as also is a great part of the devil’s dress. This last personage is a most respectable-looking patriarchal old Jewish Rabbi. I should say he was the leading solicitor in some such town as Samaria, and that he gave an annual tea to the choir. He is offering Christ some stones just as any other respectable person might do, and if it were not for his formidable two clawed feet there would be nothing to betray his real nature. The beasts with their young are excellent. The porcupine has real quills. The fresco background is by Melchior D’Enrico, and here the fall of the devil when the whole is over is treated with a realistic unreserve little likely to be repeated. He is dreadfully unwell. The graces in this chapel are more especially for those tempted by the world, the flesh, and the devil, for people who are bewitched, and for those who are in any wise troubled in mind, body, and estate, “as the varying views of the pilgrims themselves will best determine.” Bordiga says that the chapel was begun about 1580, and completed in 1594, but he refers probably to Tabachetti’s reconstruction, for in the portico there is an inscription painted by order of the Bishop, and forbidding visitors to deface the walls, that is dated 1524, and the back of the chapel has many early 16th century scratches. CHAPEL NO. 14. THE WOMAN OF SAMARIA.