I cannot understand how a field so interesting, and containing treasures in so many respects unrivalled, can have remained almost wholly untilled by the numerous English lovers of art who yearly flock to Italy; but the fact is one on which I may perhaps be congratulated, inasmuch as more shortcomings and errors of judgment may be forgiven in my own book, in virtue of its being the first to bring Varallo with any prominence before English readers. That little is known about the Sacro Monte, even by the latest and best reputed authorities on art, may be seen by turning to Sir Henry Layard’s recent edition of Kugler’s “Handbook of Painting,”—a work which our leading journals of culture have received with acclamation. Sir Henry Layard has evidently either never been at Varallo, or has so completely forgotten what he saw there that his visit no longer counts. He thinks, for example, that the chapels, or, as he also calls them, “stations” (which in itself should show that he has not seen them), are on the way up to the Sacro Monte, whereas all that need be considered are on the top. He thinks that the statues generally in these supposed chapels “on the ascent of the Sacro Monte” are attributed to Gaudenzio Ferrari, whereas it is only in two or three out of some five-and-forty that any statues are believed to be by Gaudenzio. He thinks the famous sculptor Tabachetti—for famous he is in North Italy, where he is known—was a painter, and speaks of him as “a local imitator” of Gaudenzio, who “decorated” other chapels, and “whose works only show how rapidly Gaudenzio’s influence declined and his school deteriorated.” As a matter of fact, Tabachetti was a Fleming and his name was Tabaquet; but this is a detail. Sir Henry Layard thinks that “Miel” was also “a local imitator” of Gaudenzio. It is not likely that this painter ever worked on the Sacro Monte at all; but if he did, Sir Henry Layard should surely know that he came from Antwerp. Sir Henry Layard does not appear to know that there are any figures in the Crucifixion Chapel of Gaudenzio, or indeed in any of the chapels for which Gaudenzio painted frescoes, and falls into a trap which seems almost laid on purpose for those who would write about Varallo without having been there, in supposing that Gaudenzio painted a Pietà on the Sacro Monte. Having thus displayed the ripeness of his knowledge as regards facts, he says that though the chapels “on the ascent of the Sacro Monte” are “objects of wonder and admiration to the innumerable pilgrims who frequent this sacred spot,” yet “the bad taste of the colour and clothing make them highly repugnant to a cultivated eye.” I begin to understand now how we came to buy the Blenheim Raffaelle. Finally, Sir Henry Layard says it is “very doubtful” whether any of the statues were modelled or executed by Gaudenzio Ferrari at all. It is a pity he has not thought it necessary give a single reason or authority in support of a statement so surprising.