from which they were taken, the figures of Leonardo and Scotto
probably stood side by side as they still do in the Crucifixion
chapel. I supposed that Tabachetti and D'Enrico, who must have
perfectly well known who they were, separated them in order to get
Giovanni D'Enrico nearer the grating. It was the presumption that we
had D'Enrico's portrait between Scotto and Leonardo, and the
conviction that Tabachetti also had worked in the chapel, that led me
to examine the very beautiful figure on the father side of Leonardo
to see if I could find anything to confirm my suspicion that it was a
portrait of Tabachetti himself.

I do not think there can be much doubt that the Vecchietto is also a
portrait of Tabachetti done some thirty years later than 1610, nor
yet do I doubt, now I know that he returned to Varallo in 1610, that
the figures of Herod and of Caiaphas are by him. I believe he also
at this time paid a short visit to Orta, and did three or four
figures in the left hand part of the foreground of the Canonisation
of St. Francis chapel. At Montrigone, a mile or so below Borgo-Sesia
station, I believe him to have done at least two or three figures,
which are very much in his manner, and not at all like either Giacomo
Ferro or Giovanni D'Enrico, to whom they are usually assigned. These
figures are some twenty-five years later than 1610, and tend to show
that Tabachetti, as an old man of over seventy, paid a third visit to
the Val-Sesia.

The substance of the foregoing paragraphs is published at greater
length, and with illustrations, in the number of the Universal Review
for November 1888, and to which I must refer my readers. I have,
however, here given the pith of all that I have yet been able to find
out about Tabachetti since "Ex Voto" was published. I should like to