With his accustomed reticence where he fears to give offence, he does not say that the frescoes are going to rack and ruin, but this is what he means; Torrotti expresses himself more freely, saying that a chapel, although derelict, containing paintings by Gaudenzio and his pupils, should not be left to the neglect of servants. These frescoes were removed a year or so ago to the Pinacoteca in the Museum. They are not by Gaudenzio, and are now rightly given to Lanini. They are mere fragments, and of no great importance. CHAPEL NO. 24. CHRIST TAKEN TO ANNAS. This is the one chapel that belongs to the 18th century, having been finished about 1765 at the expense of certain Valsesians residing in Turin. It does not belong to the Palazzo di Pilato block, but I deal with it here to avoid departure from the prescribed order. The design of the chapel is by Morondi, and the figures by Carlantonio Tandarini, except that of Annas, which is by Giambattista Bernesi of Turin. The frescoes are of the usual drop scene, _barocco_, academic kind, but where the damp has spared them they form an effective background. The figures want concert, and are too much spotted about so as each one to be seen to the best advantage. This, as Tabachetti very well knew, is not in the manner of living action, and the attempt to render it on these principles is doomed to failure; nevertheless many of Tandarini’s individual figures are very clever, and have a good deal of a certain somewhat exaggerated force and character. I have already said that from the plan of 1671 “The Widow’s Son” would seem to have been formerly on the site of the present Annas chapel. [Picture: Plate No. VII. “Ciaphas.” By Giovanni D’Enrico] CHAPEL NO. 25. CHRIST TAKEN BEFORE CAIAPHAS.