These long photographic exposures have the advantage that one is compelled to study a work in detail through mere lack of other employment, and that one can take one's notes in peace without being tempted to hurry over them; but even so I continually find I have omitted to note, and have clean forgotten, much that I want later on. In the other annex there are also one or two younger children, but it seems to have been set apart for conversation and relaxation more than any other part of the establishment. I have already said that the work is signed by an inscription inside the chapel, to the effect that the sculptures are by Pietro Aureggio Termine di Biella. It will be seen that the young ladies are exceedingly like one another, and that the artist aimed at nothing more than a faithful rendering of the life of his own times. Let us be thankful that he aimed at nothing less. Perhaps his wife kept a girls' school; or he may have had a large family of fat, good- natured daughters, whose little ways he had studied attentively; at all events the work is full of spontaneous incident, and cannot fail to become more and more interesting as the age it renders falls farther back into the past. It is to be regretted that many artists, better-known men, have not been satisfied with the humbler ambitions of this most amiable and interesting sculptor. If he has left us no laboured life-studies, he has at least done something for us which we can find nowhere else, which we should be very sorry not to have, and the fidelity of which to Italian life at the beginning of the eighteenth century will not be disputed. The eighth chapel is that of the Sposalizio, is certainly not by Aureggio, and I should say was mainly by the same sculptor who did the Presentation in the Temple. On going inside I found the figures had come from more than one source; some of them are constructed so absolutely on Valsesian principles, as regards technique, that it may be assumed they came from Varallo. Each of these last figures is in three pieces, that are baked separately and cemented together afterwards, hence they are more easily transported; no more clay is used than is absolutely necessary; and the off-side of the figure is neglected; they will be found chiefly, if not entirely, at the top of the steps. The other figures are more solidly built, and do not remind me in their business features of anything in the Valsesia. There was a sculptor, Francesco Sala, of Locarno (doubtless the village a short distance below Varallo, and not the Locarno on the Lago Maggiore), who made designs for some of the Oropa chapels, and some of whose letters are still preserved, but whether the Valsesian figures in this present work are by him or not I cannot say.