andmakeitaruletoearnestlyandpatientlyandcarefullyswallowafewofthesmallestgnatsIcanfindseveraltimesaday，asthebestastringentforthethroatIknowof。
ThethirteenthchapelistheMarriageFeastatCanaofGalilee。
Thisisthebestchapelasaworkofart；indeed，itistheonlyonewhichcanclaimtobetakenquiteseriously。Notthatallthefiguresareverygood；thosetotheleftofthecompositionarecommonplaceenough；noraretheChristandthegiverofthefeastatallremarkable；butthetenordozenfiguresofguestsandattendantsattheright-handendoftheworkareasgoodasanythingoftheirkindcanbe，andremindmesostronglyofTabachettithatI
cannotdoubttheyweredonebysomeonewhowasindirectlyinfluencedbythatgreatsculptor’swork。ItisnotlikelythatTabachettiwasalivelongafter1640，bywhichtimehewouldhavebeenabouteightyyearsold；andthefoundationsofthischapelwerenotlaidtillabout1690；thestatuesareprobablyafewyearslater；theycanhardly，therefore，bebyonewhohadevenstudiedunderTabachetti；butuntilIfoundoutthedates，andwentinsidethechapeltoseethewayinwhichthefigureshadbeenconstructed，IwasinclinedtothinktheymightbebyTabachettihimself，ofwhom，indeed，theyarenotunworthy。OnexaminingthefiguresI
foundthemmoreheavilyconstructedthanTabachetti’sare，withsmallerholesfortakingoutsuperfluousclay，andmorefinishedontheoff-sides。Maroccosaysthesculptorisnotknown。Ilookedinvainforanydateorsignature。Possiblytheright-handfigures（fortheleft-handonescanhardlybebythesamehand）maybebysomesculptorfromCrea，whichisatnoverygreatdistancefromOropa，whowaspenetratedbyTabachetti’sinfluence；butwhetherasregardsactionandconcertwithoneanother，orasregardsexcellenceindetail，Idonotseehowanythingcanbemorerealistic，andyetmoreharmoniouslycomposed。Theplacingofthemusiciansinaminstrels’galleryhelpstheeffect；thesemusiciansaresixinnumber，andtheotherfiguresaretwenty-three。Underthetable，betweenChristandthegiverofthefeast，thereisacat。