in the Journey to Calvary chapel; on examining this I found it to
show a W, with some kind of armorial bearings underneath. I have not
been able to find anything like these arms, of which I give a sketch
herewith: they have no affinity with those of the de Wespin family,
unless the cups with crosses under them are taken as modifications of
the three-footed caldrons which were never absent from the arms of
Dinant copper-beaters. Tabachetti (for I shall assume that the seal
was placed by him) perhaps sealed this figure as an afterthought in
1610, being unable to cut easily into the hard-baked clay, and if he
could have Italianised the W he would probably have done so. I
should say that I arrived at the Ecce Homo figure as a portrait of
Tabachetti before I found the V cut upon the hat; I found the V on
examining the portrait to see if I could find any signature. It
stands next to a second portrait of Leonardo da Vinci by Gaudenzio
Ferrari, taken into the Ecce Homo chapel, doubtless, on the
demolition of some earlier work by Gaudenzio on or near the same
site. I knew of this second portrait of Leonardo da Vinci when I
published my first edition, but did not venture to say anything about
it, as thinking that one life-sized portrait of a Leonardo da Vinci
by a Gaudenzio Ferrari was as much of a find at one time as my
readers would put up with. I had also known of the V on Tabachetti's
hat, but, having no idea that his name was de Wespin, had not seen
why this should help it to be a portrait of Tabachetti, and had
allowed the fact to escape me.

The figure next to Scotto in the Ecce Homo chapel is, I do not doubt,
a portrait of Giovanni D'Enrico. This may explain the tradition at
Varallo that Scotto is Antonio D'Enrico, which cannot be. Next to
Giovanni D'Enrico stands the second Leonardo da Vinci, and next to
Leonardo, as I have said, Tabachetti. In the chapel by Gaudenzio,