Cusa says that this chapel, which again is not in the Palazzo di Pilato block, adheres very closely to the design of Pellegrino Tibaldi. The figures, thirty-three in number, are by Giovanni D’Enrico and Giacomo Ferro, and the frescoes being dated 1642, we may think the terra-cotta work to be among the last done by D’Enrico on the Sacro Monte. The figure of Caiaphas must be given to him, and it is hard to see how it could have been more dramatically treated. Caiaphas has stepped down from his throne, which is left vacant behind him, and is adjuring Jesus to say whether he is the Christ the Son of God. If it were not for the cobweb between the arm and the body, the photograph which is here given might almost pass as having been taken from life, and the character is so priest-like that it is hard to understand how priests could have tolerated it as they did. Indeed, the figure is so far finer than the general run of Giovanni D’Enrico’s work, and so infinitely superior to the four figures of Pilate in the four Pilate chapels, that we should be tempted to give it to some other sculptor if, happily, the Herod did not also show how great D’Enrico could be when he was doing his best, and if the evidence for its having been by him were not so strong. To the left of Caiaphas’s empty throne are two standing figures, which look as if they had been begun for figures of Christ, but were condemned as not good enough. They may perhaps be intended for Joseph and Nicodemus. Some few of the other figures, which in all number thirty-three, are also full of character, but the greater part of them do not rise above the level of Giacomo Ferro’s supers, and suffer from having lost much paint; nevertheless the chapel is effective, chiefly, doubtless, through the excellence of the Caiaphas himself, and if we could see the work as it was when D’Enrico left it we should doubtless find it more effective still. The frescoes are by Cristoforo Martinolo, also named Rocca. They are not of remarkable excellence, but form an efficient background, and are among the best preserved on the Sacro Monte. They have also the great merit of being legibly signed and dated. CHAPEL NO. 26. THE REPENTANCE OF ST. PETER. Hard by under a portico there is a statue of St. Peter, repentant, and over him there is a cock still crowing. The figure of St. Peter, and presumably that of the cock also, are by D’Enrico. I can find nothing about the date in any author.