This chapel is in the Palazzo di Pilato block, though not strictly a suffering under Pontius Pilate. The greater number of the sixteen figures that it contains are old, and of wood, and among these are the figures of Christ, Judas, and Malchus, who is lying on the ground. To show how dust and dirt accumulate in the course of centuries, I may say that Cav. Prof. Antonini told me he had himself unburied the figure of Malchus, which he found more than half covered with earth. We have seen that there are also two figures introduced here which had no connection with the original chapel, I mean of course the old Adam and Eve, who are now doing duty as Roman soldiers. The few remaining figures that are not of wood are given to D’Enrico, and the frescoes are by his brother Melchiorre. Neither figures nor frescoes can be highly praised. The present chapel is not on the site of the old, which I have already explained was on the ground floor of the large house on the visitor’s left as he enters the smaller entrance to the Sacro Monte. The servants were put to lodge above this old and now derelict Capture chapel when the present one was made. The date of the removal is given by Cusa as 1570, who says that the Marchese del Guasto contributed largely to the expense. If the figures were then completed and arranged as we now see them, Giovanni D’Enrico can have had no hand in them, but it is quite possible that somewhere about 1615–1619, they were again rearranged and perhaps added to. Melchiorre D’Enrico has signed the frescoes in a quasi-cipher and dated them 1619. The old chapel, though, I think, originally larger than it now is, could not have contained all or nearly all the present figures. Any second rearrangement of the chapel may have been due to its incorporation in the Palazzo di Pilato block, which we know was not begun till after 1590. That the removal from the original chapel had been effected before 1586 is shown by the fact that the chapel is given in its present geographical sequence in the edition of Caccia published at the end of that year. The work contains no trace of Tabachetti’s hand, and this should make us incline towards thinking that. Tabachetti had not yet come to Varallo by 1570. Of the former chapel Fassola says:— “On again descending where formerly was the Capture of Christ, and near the exit [from the Sacro Monte] we came to the porter’s lodge. It should be noted that under the porter’s room, in the place where the Capture used to be, there are most admirable frescoes by Gaudenzio” (p. 22).