Torrotti and Fassola say that the Christ in this chapel, as well as in all the others, is an actual portrait—and no doubt an admirable one—communicated by Divine inspiration to the many workmen and artists who worked on the Sacro Monte. This, they say, may be known from two documents contemporaneous with Christ Himself, in which His personal appearance is fully set forth, and which seem almost to have been written from the statues now existing at Varallo. The worthy artists who made these statues were by no means given to historical investigations, and were little likely to know anything about the letters in question; besides, these had only just been discovered, so that there can have been no deception or illusion. Both Fassola and Torrotti give the letters in full, and to their pages the reader who wishes to see them may be referred. Fassola writes:— “Hora vegga ogni diuoto se rassomigliando queste statue al vero Christo essendo lauorate accidentalmente, parendo da Dio sia dato alli Statuarij, e Pittori il lume della sua Diuina Persona non si hà se non per mera sua disposizione e diachiarazione d’hauer quiui quasi come rinouata, e resa più commoda alla Christianità la sua Redenzione” (p. 103). The work is mentioned as completed in the 1586 edition of Caccia—this, and the Crowning with Thorns, being the only two that are described as completed of those that now form part of the Palazzo di Pilato block. These two chapels do not in reality, however, belong to the Palazzo di Pilato at all; they existed long before it, and the new work was added on to them. Bordiga says that “an order of Monsignor Bescapè relating to this chapel, and dated February 1, 1605, shows that there was as yet no plan of this part of the Palace of Pilate.” I have not seen this order, and can only speak with diffidence, but I do not think the chapel has been much modified since 1586, beyond the fact that Rocca, whom we have already met with as painting in the Caiaphas chapel in 1642, at some time or another painted a new background, which is now much injured by damp. Not only does the author of the 1586 Caccia mention the chapel, but he does it with more effusion than is usual with him. He rarely says anything in praise of any but the best work. I do not, therefore, think it likely that his words refer to the original wooden figures, two of which were preserved when the work was remodelled; these two mar the chapel now, and when all the work was of the same calibre it cannot have kindled any enthusiasm in a writer who appears to have known very fairly well which were the best chapels. He says:— “Da manigoldi, in atto acerbo e fiero, Alla colonna Christo flagellato _Da scultor dotto assimigliato al vero_ Di questo {181} in un de i lati è dimostrato, E come fusse macerato e nero, D’aspri flagelli percosso, e vergato, Di Christo il sacro corpo in ogni parte, Vi ha sculto dotto mastro in sottil arte.”