This is supposed to be the last work of Giovanni D’Enrico, who, according to Durandi, died in 1644. The scene comprises twenty-three terra-cotta figures, few of them individually good, but nevertheless effective as a whole. One man, the nearest but one to the spectator, must be given to D’Enrico, and perhaps one or two more, but the greater number must have been done by Giacomo Ferro. The frescoes were begun both by Morazzone and Antonio D’Enrico, but Fassola and Torrotti say that neither the one nor the other was able to complete the work, which in their time was still unfinished; but Doctor Morosini was going to get a really good man to finish them without further delay. Eventually the brothers Grandi of Milan came and did the Doric architecture, while Pietro Gianoli did some sibyls, and on the facciata “_il casto Giuseppe portato da due Angioli_.” Gianoli signed his work and dated it 1679. We know, then, that in this case the sculptured figures were placed some years before the background, as probably also with several other chapels; and it may be assumed that generally the terra-cotta figures preceded the background—which was designed for them, and not they for it, except in the case of Gaudenzio Ferrari—who probably conceived both the round and flat work together as part of the same design, and was thus the only artist on the Sacro Monte who carried out the design of uniting painting and sculpture in a single design, under the conditions which strictly it involves. In connection with this chapel both Fassola and Torrotti say that D’Enrico has intentionally made Christ’s face become smaller and smaller during each of these last scenes, as becoming contracted through increase of suffering. I have been unable to see that this is more than fancy on their parts. It is also in connection with this chapel that we discover the true date of Fassola’s book. He says that they had been on the lookout “during the whole _of last year_”—which he gives as 1669—for some one to finish the frescoes. “Now, however,” he continues, “when this book is seeing light,” &c. The book therefore should be seeing light in 1670. It is dated 1671. True, Fassola may have been writing at the very end of 1670, and the book may have been published at the beginning of 1671, but perhaps the more natural conclusion is that the same reasons which make publishers wish to misdate their books by a year now, made them wish to do so then, and that though Fassola’s book appeared at the end of 1670, as would appear from his own words, it was nevertheless dated 1671. CHAPEL NO. 30. THE FLAGELLATION.