of the heavy Flemish
type adopted by Tabachetti at Varallo. There is great difference in the
care with which the folds on the several draperies have been cut, some
being stiff and poor enough, while others are done very sufficiently. In
spite of smallness of scale, ignoble material, disarrangement and decay,
the work is still striking.

11. The Resurrection. There being no chapel at Varallo with any of the
remaining subjects treated at Saas, the sculptor has struck out a line
for himself. The Christ in the Resurrection Chapel is a carefully
modelled figure, and if better painted might not be ineffective. Three
soldiers, one sleeping, alone remain. There were probably other figures
that have been lost. The sleeping soldier is very pleasing.

12. The Ascension is not remarkably interesting; the Christ appears to
be, but perhaps is not, a much more modern figure than the rest.

18. The Descent of the Holy Ghost. Some of the figures along the end
wall are very good, and were, I should imagine, cut by Tabachetti
himself. Those against the two side walls are not so well cut.

14. The Assumption of the Virgin Mary. The two large cherubs here are
obviously by a later hand, and the small ones are not good. The figure
of the Virgin herself is unexceptionable. There were doubtless once
other figures of the Apostles which have disappeared; of these a single
St. Peter (?), so hidden away in a corner near the window that it can
only be seen with difficulty, is the sole survivor.

15. The Coronation of the Virgin is of later date, and has probably
superseded an earlier work. It can hardly be by the designer of the
other chapels of the series. Perhaps Tabachetti had to leave for Crea
before all the chapels at Saas were finished.

Lastly, we have the larger chapel dedicated to St. Mary, which crowns the
series. Here there is nothing of more than common artistic interest,
unless we except the stone altar mentioned in Ruppen's chronicle. This
is of course classical in style, and is, I should think, very good.

Once more I must caution the reader against expecting to find
highly-finished gems of art in the chapels I have been describing. A
wooden figure not more than two feet high clogged with many coats of
paint can hardly claim to be taken very seriously, and even those few
that were cut by Tabachetti himself were not meant to have attention
concentrated on themselves alone. As mere wood-carving the Saas-Fee