possible art of composing many figures together effectively
in all-round sculpture. Whether all the figures are even now as
Tabachetti left them I cannot determine, but Mr. Selwyn has restored
Simon the Cyrenian to the position in which he obviously ought to
stand, and between us we have got the chapel into something more
like order.

10. The Crucifixion. This subject was treated at Varallo not by
Tabachetti but by Gaudenzio Ferrari. It confirms therefore my
opinion as to the designer of the Saas chapels to find in them no
trace of the Varallo Crucifixion, while the kind of tunic which at
Varallo is only found in chapels wherein Tabachetti worked again
appears here. The work is in a deplorable state of decay. Mr.
Selwyn has greatly improved the arrangement of the figures, but even
now they are not, I imagine, quite as Tabachetti left them. The
figure of Christ is greatly better in technical execution than that
of either of the two thieves; the folds of the drapery alone will
show this even to an unpractised eye. I do not think there can be a
doubt but that Tabachetti cut this figure himself, as also those of
the Magdalene and St. John, who stand at the foot of the cross. The
thieves are coarsely executed, with no very obvious distinction
between the penitent and the impenitent one, except that there is a
fiend painted on the ceiling over the impenitent thief. The one
horse introduced into the composition is again 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.

13. The Descent of the Holy Ghost. Some of the figures along the
end wall are very good, and were, I should imag