This was one of the earliest chapels, and is mentioned as completed in the 1586 edition of Caccia. The figures are of wood, stiff, and lifeless, the supper is profuse and of much later date than the figures, but the whole scene is among the least successful on the Sacro Monte. Originally, but not till many years after the figures had been made and placed, Lanini painted a fresco background for this chapel. Perhaps Gaudenzio brought him from Vercelli on the occasion of the temporary return to Varallo supposed by Colombo to have taken place between 1536 and 1539. If we could know when Lanini was on the Sacro Monte doing this background, we might suspect that Gaudenzio was not far off. Lanini’s work has unfortunately perished in a second reconstruction of the chapel. Torrotti in 1686 says that a reconstruction of the Cena chapel was then contemplated, but that Lanini’s frescoes were not to be touched. The original Cena chapel may or may not have been on its present site, but the first restoration certainly was so, as appears from the plan dated 1671 already given. The apostles have real napkins round their shoulders. The graces are for people who feel themselves deficient in faith, and intercession may be made here for obstinate sinners. CHAPEL NO. 21. THE AGONY IN THE GARDEN. This chapel, again, has been reconstructed, but the old figures have not been preserved as in the case of the Cena, nor yet has the original site. The original site, according to Bordiga, was apart from the other chapels at the foot of the neighbouring _monticello_, meaning, presumably, the height on which the Transfiguration chapel now stands. It was at this old chapel that S. Carlo used to spend hours in prayer. It was one of the earliest, and the figures were of wood. Fassola says that it was the angel who was offering the cup to Christ in the old chapel who announced his approaching end to S. Carlo, but the figures had been removed in his time as they were perishing, and the terra-cotta ones by Giovanni D’Enrico had been substituted, with a fresco background by his brother Melchiorre. These in their turn perished during a reconstruction some twenty years or so ago. The graces at this chapel are thus described by Fassola. “Il moderno e Christo ed Angiolo nel medemo stato rinouati non sono meno miraculosi, perche tutti li concorrenti, bisognosi di pazienza di soffrire trauagli, malattie, ed ogni sorte d’ infermità tanto dell’ anima, quanto del corpo caldamente racomandandosi al piacere di questo sudante Christo riportano ciò che meglio per lo stato di questo, ed altro Mondo fà di necessità alle loro persone.” I find no mention of any original fresco background, though I do of the one added afterwards by Melchiorre D’Enrico, now no longer in existence. As this was one of the earliest chapels, I incline to think that there was no fresco background in the first instance. CHAPEL NO. 22. THE SLEEPING APOSTLES.