wicked, and disagreeable people, he knew all about this, and could
paint them if the occasion required it; but when it came to a
downright unmitigated devil, he was powerless. He could never have
done Tabachetti's serpent in the Adam and Eve Chapel, nor yet the
plausible fair-spoken devil, as in the Temptation Chapel, also by
Tabachetti.

To conclude my extracts from Mr. King. Speaking of the Crucifixion
Chapel, he says:-


"Though this combination of terra-cotta and fresco may not be as
highly esteemed in the present day as in the times when this
extraordinary sanctuary sprang into existence, yet this composition
must always be admired as one of the greatest of Ferrari's works, and
undoubtedly that on which he lavished the full force of his genius
and the collected studies and experience of his previous artist
life."


It is noteworthy, but not perhaps surprising, that this observant,
intelligent, and sympathetic writer, probably through inability to at
once understand and enter into the conventions rendered necessary by
the conditions under which works so unfamiliar to him must be both
executed and looked at, has failed to notice the existence of
Tabachetti, never mentioning his name nor referring to one of his
works--not even to the Madonna and Child in the church of S.
Gaudenzio, which one would have thought could hardly fail to strike
him.