surprised at coming across such works in a place so remote
from any art-centre as Saas must have been at the time these chapels
were made. It will be my business therefore to throw what light I
can upon the questions how they came to be made at all, and who was
the artist who designed them.

The only documentary evidence consists in a chronicle of the valley
of Saas written in the early years of this century by the Rev. Peter
Jos. Ruppen, and published at Sion in 1851. This work makes
frequent reference to a manuscript by the Rev. Peter Joseph Clemens
Lommatter, cure of Saas-Fee from 1738 to 1751, which has
unfortunately been lost, so that we have no means of knowing how
closely it was adhered to. The Rev. Jos. Ant. Ruppen, the present
excellent cure of Saas-im-Grund, assures me that there is no
reference to the Saas-Fee oratories in the "Actes de l'Eglise" at
Saas, which I understand go a long way back; but I have not seen
these myself. Practically, then, we have no more documentary
evidence than is to be found in the published chronicle above
referred to.

We there find it stated that the large chapel, commonly, but as
above explained, wrongly called St. Joseph's, was built in 1687, and
enlarged by subscription in 1747. These dates appear on the
building itself, and are no doubt accurate. The writer adds that
there was no actual edifice on this site before the one now existing
was built, but there was a miraculous picture of the Virgin placed
in a mural niche, before which the pious herdsmen and devout
inhabitants of the valley worshipped under the vault of heaven.
{190} A miraculous (or miracle-working) picture was always more or
less rare and important; the present site, therefore, seems to have
been long one of peculiar sanctity. Possibly the name Fee may point
to still earlier pagan mysteries on the same site.

As regards the fifteen small chapels, the writer says they
illustrate the fifteen mysteries of the Psalter, and were built in
1709, each householder of the Saas-Fee contributing one chapel. He
adds that Heinrich Andenmatten, afterwards a brother of the Society
of Jesus, was an especial benefactor or promoter of the undertaking.
One of the chapels, the Ascension (No. 12 of the series), has the
date 1709 painted on it; but there is no date on any other chapel,
and there seems no reason why this should be taken as governing the
whole series.

Over and above this, there exists in Saas a traditi