This is on the highest ground of the Sacro Monte, the Transfiguration being supposed to have happened on Mount Sinai. Inside the chapel they have made Mount Sinai, but Fassola says that it was originally quite too high, and the Fabbricieri had ordered it to be made lower, “so as to render it more enjoyable by the eye.” It was begun at the end of the sixteenth century, but is mentioned as being only “founded” in the 1586 and 1590 editions of Caccia, and the work seems to have got little further than the foundations, until in 1660 it was resumed; Fassola, writing in 1671, says that the chapel was “_levata in alto da terra l’anno del mille_, _sei cento e sessanta_,” or about ten years before his book appeared; it was still in great part unpainted, and he makes an appeal to his readers to contribute towards its completion. From both Fassola and Torrotti it would appear that only the group of figures on the mountain was in existence when they wrote. They both of them make the extraordinary statement that these figures are by Giovanni D’Enrico, whom they must have perfectly well known to have been dead more than a quarter of a century before Fassola wrote, and many years before the figures could possibly have been placed where they now are. It is much as though I, writing now, were to ascribe Boehm’s statue of Mr. Darwin, in the Natural History Museum at South Kensington, to Chantrey. The figures on the mountain are among the worst on the Sacro Monte. I see that Cusa ascribes the figures of Peter, James, and John only to D’Enrico, but the ascription is very difficult to understand. Bordiga does not say who did the figures of Peter, James, and John, but he gives the Christ, Moses, and Elias to Pietro Francesco Petera of Varallo. The fourteen figures at the foot of the mountain he assigns to Gaudenzio Soldo of Camasco, a pupil of the sculptor Dionigi Bussola. In 1665 Giuseppe and Stefano Danedi, called Montalti, and pupils of Morazzone, “painted the cupola of the chapel with innumerable angels great and small exhibiting the most varied movements.” Giuseppe had the greater share in this work, in which may be seen, according to Bordiga, signs of the influence of Guido, under whom Giuseppe had studied. Among the figures below the mountain there is a blind man, and a boy with a bad foot leading him—both good—and a contemptuous father telling the Apostles that they cannot cure his son, and that he had told them so from the first, but the paint is peeling off the figures so much that the work can hardly be judged fairly. When photographed they look much better, and Signor Pizetta tells me he was last year commissioned to photograph the boy, who is in a fit of hystero-epilepsy, for a medical work that was being published in France, so it is probably very true to nature. CHAPEL NO. 18. RAISING OF LAZARUS.