That this chapel had undergone one reconstruction before 1586, we may gather from the fact that the left-hand wall is still covered with a fresco of the Expulsion of Adam and Eve from Paradise; this has no connection with the Crowning with Thorns, and doubtless formed the background to the original Adam and Eve. I have already said that I am indebted to Signor Arienta for this suggestion. Bordiga calls this subject Christ being Led to be Crowned, and gives it to Crespi da Cerano, but I cannot understand how he can see in the work anything but an Expulsion from Paradise. The chapel having been reconstructed before 1586 on its present site—as it evidently had been—and being admired, is not likely to have been reconstructed a second time, and I am again, therefore, inclined to give the whole work, or at any rate the greater part of it, to Tabachetti, and to reject the statements of Fassola, Torrotti, Bordiga, and Cusa, who all ascribe the figures to D’Enrico. The two men standing up behind Christ, one taunting Him, and the other laughing, are among the finest on the Sacro Monte, and are much more in Tabachetti’s manner than in D’Enrico’s. The other figures are, as they were doubtless intended to be, of minor interest. Some of the frescoes other than those above referred to, were added at a later date, and are said by Bordiga, on the authority of a covenant, dated September 27_th_, 1608, to have been done by Antonio Rantio, who undertook to paint them for a sum of ten ducatoons. They are without interest. It was here the Flemish dancer was healed. His name was Bartholomew Jacob, and he came from Graveling in Flanders. It seems there was a ball going on at the house of one of this man’s ancestors, and that the Last Sacraments were being carried through the street under the windows of the ball-room. The dancing ought by rights to have been stopped, but the host refused to stop it, and presently the priest who was carrying the Sacrament found a paper under the chalice, written in a handwriting of almost superhuman neatness, presumably that of the Madonna herself and bearing the words, “Dancer, thou wouldst not stay thy dance: I curse thee, therefore, that thou dance for nine generations.” And so he did, he and all his descendants all their lives, till it came to Bartholomew Jacob, who was the ninth in descent. He too began life dancing, and was still dancing when he started on a pilgrimage to Rome; when, however, he got to the Sacro Monte at Varallo on the 7th of January 1646, he began to feel tired, tremulous, and languid from so much incessant movement. This strange feeling attacked him first at the Nativity Chapel, but by the time he got to the Crowning with Thorns he could stand it no longer, and fell as one dead, to rise again presently perfectly whole, and relieved of his distressing complaint.