and　yet　make　such　a　brilliantly　successful　modification。　　The
  stumbling；　again；　of　one　horse　（a　detail　almost　hidden；　according　to
  Tabachetti's　wont）　is　a　touch　which　Tabachetti　himself　might　add；
  but　which　no　Saas　woodcarver　who　was　merely　adapting　from　a
  reminiscence　of　Tabachetti's　Varallo　chapel　would　be　likely　to
  introduce。　　These　considerations　have　convinced　me　that　the　designer
  of　the　chapels　at　Saas　is　none　other　than　Tabachetti　himself；　who；
  as　has　been　now　conclusively　shown；　was　a　native　of　Dinant；　in
  Belgium。
  The　Saas　chronicler；　indeed；　avers　that　the　chapels　were　not　built
  till　1709a　statement　apparently　corroborated　by　a　date　now　visible
  on　one　chapel；　but　we　must　remember　that　the　chronicler　did　not
  write　until　a　century　or　so　later　than　1709；　and　though；　indeed；　his
  statement　may　have　been　taken　from　the　lost　earlier　manuscript　of
  1738；　we　know　nothing　about　this　either　one　way　or　the　other。　　The
  writer　may　have　gone　by　the　still　existing　1709　on　the　Ascension
  chapel；　whereas　this　date　may　in　fact　have　referred　to　a
  restoration；　and　not　to　an　original　construction。　　There　is　nothing；
  as　I　have　said；　in　the　choice　of　the　chapel　on　which　the　date
  appears；　to　suggest　that　it　was　intended　to　govern　the　others。　　I
  have　explained　that　the　work　is　isolated　and　exotic。　　It　is　by　one
  in　whom　Flemish　and　Italian　influences　are　alike　equally
  predominant；　by　one　who　was　saturated　with　Tabachetti's　Varallo
  work；　and　who　can　improve　upon　it；　but　over　whom　the　other　Varallo
  sculptors　have　no　power。　　The　style　of　the　work　is　of　the　sixteenth
  and　not　of　the　eighteenth　centurywith　a　few　obvious　exceptions
  that　suit　the　year　1709　exceedingly　well。　　Against　such
  considerations　as　these；　a　statement　made　at　the　beginning　of　this
  century　referring　to　a　century　earlier；　and　a　promiscuous　date　upon
  one　chapel；　can　carry　but　little　weight。　　I　shall　assume；　therefore；
  henceforward；　that　we　have　here　groups　designed　in　a　plastic
  material　by　Tabachetti；　and　reproduced　in　wood　by　the　best　local
  wood…sculptor　available；　with　the　exception　of　a　few　figures　cut　by
  the　artist　himself。
  We　ask；　then；　at　what　period　in　his　life　did　Tabachetti　design　these
  chapels；　and　what　led　to　his　coming　to　such　an　out…of…the…way　place
  as　Saas　at　all？　　We　should　remember　that；　according　both　to　Fassola
  and　Torrotti　（writing　in　1671　and　1686　respectively）；　Tabachetti
  ｛14｝　became　insane　about　the　year　1586　or　early　in　1587；　after
  having　just　begun　the　Salutation　chapel。　　I　have　explained　in　〃Ex
  Voto〃　that　I　do　not　believe　this　story。　　I　have　no　doubt　that
  Tabachetti　was　declared　to　be　mad；　but　I　believe　this　to　have　been
  due　to　an　intrigue；　set　on　foot　in　order　to　get　a　foreign　artist　out
  of　the　way；　and　to　secure　the　Massacre　of　the　Innocents　chapel；　at
  that　precise　time　undertaken；　for　Gio。　Ant。　Paracca；　who　was　an
  Italian。
  Or　he　may　have　been　sacrificed　in　order　to　facilitate　the　return　of
  the　workers　in　stucco　whom　he　had　superseded　on　the　Sacro　Monte。　　He
  may　have　been　goaded　into　some　imprudence　which　was　seized　upon　as　a
  pretext　for　shutting　him　up；　at　any　rate；　the　fact　that　when　in　1587
  he　inherited　his　father's　property　at　Dinant；　his　trustee　（he　being
  expressly　stated　to　be　〃expatrie〃）　was　〃datif；〃　〃dativus；〃　appointed
  not　by　himself　but　by　the　court；　lends　colour　to　the　statement　that
  he　was　not　his　own　master　at　the　time；　for　in　later　kindred　deeds；
  now　at　Namur；　he　appoints　his　own　trustee。　　I　suppose；　then；　that
  Tabachetti　was　shut　up　in　a　madhouse　at　Varallo　for　a　considerable
  time；　during　which　I　can　find　no　trace　of　him；　but　that　eventually
  he　escaped　or　was　released。
  Whether　he　was　a　fugitive；　or　whether　he　was　let　out　from　prison；　he
  would　in　either　case；　in　all　reasonable　probability；　turn　his　face
  homeward。　　If　he　was　escaping；　he　would　make　immediately　for　the
  Savoy　frontier；　within　which　Saas　then　lay。　　He　would　cross　the
  Baranca　above　Fobello；　coming　down　on　to　Ponte　Grande　in　the　Val
  Anzasca。　　He　would　go　up　the　Val　Anzasca　to　Macugnaga；　and　over　the
  Monte　Moro；　which　would　bring　him　immediately　to　Saas。　　Saas；
  therefore；　is　the　nearest　and　most　natural　place　for　him　to　make
  for；　if　he　were　flying　from　Varallo；　and　here　I　suppose　him　to　have
  halted。
  It　so　happened　that　on　the　9th　of　September；　1589；　there　was　one　of
  the　three　great　outbreaks　of　the　Mattmark　See　that　have　from　time　to
  time　devastated　the　valley　of　Saas。　｛15｝　　It　is　probable　that　the
  chapels　were　decided　upon　in　consequence　of　some　grace　shown　by　the
  miraculous　picture　of　the　Virgin；　which　had　mitigated　a　disaster
  occurring　so　soon　after　the　anniversary　of　her　own　Nativity。
  Tabachetti；　arriving　at　this　juncture；　may　have　offered　to　undertake
  them　if　the　Saas　people　would　give　him　an　asylum。　　Here；　at　any
  rate；　I　suppose　him　to　have　stayed　till　some　time　in　1590；　probably
  the　second　half　of　it；　his　design　of　eventually　returning　home；　if
  he　ever　entertained　it；　being　then　interrupted　by　a　summons　to　Crea
  near　Casale；　where　I　believe　him　to　have　worked　with　a　few　brief
  interruptions　thenceforward　for　little　if　at　all　short　of　half　a
  century；　or　until　about　the　year　1640。　　I　admit；　however；　that　the
  evidence　for　assigning　him　so　long　a　life　rests　solely　on　the
  supposed　identity　of　the　figure　known　as　〃Il　Vecchietto；〃　in　the
  Varallo　Descent　from　the　Cross　chapel；　with　the　portrait　of
  Tabachetti　himself　in　the　Ecce　Homo　chapel；　also　at　Varallo。
  I　find　additional　reason　for　thinking　the　chapels　owe　their　origin
  to　the　inundation　of　September　9；　1589；　in　the　fact　that　the　8th　of
  September　is　made　a　day　of　pilgrimage　to　the　Saas…Fee　chapels
  throughout　the　whole　valley　of　Saas。　　It　is　true　the　8th　of
  September　is　the　festival　of　the　Nativity　of　the　Virgin　Mary；　so
  that　under　any　circumstances　this　would　be　a　great　day；　but　the　fact
  that　not　only　the　people　of　Saas；　but　the　whole　valley　down　to　Visp；
  flock　to　this　chapel　on　the　8th　of　September；　points　to　the　belief
  that　some　special　act　of　grace　on　the　part　of　the　Virgin　was
  vouchsafed　on　this　day　in　connection　with　this　chapel。　　A　belief
  that　it　was　owing　to　the　intervention　of　St。　Mary　of　Fee　that　the
  inundation　was　not　attended　with　loss　of　life　would　be　very　likely
  to　lead　to　the　foundation　of　a　series　of　chapels　leading　up　to　the
  place　where　her　miraculous　picture　was　placed；　and　to　the　more
  special　celebration　of　her　Nativity　in　connection　with　this　spot
  throughout　the　valley　of　Saas。　　I　have　discussed　the　subject　with
  the　Rev。　Jos。　Ant。　Ruppen；　and　he　told　me　he　thought　the　fact　that
  the　great　fete　of　the　year　in　connection　with　the　Saas…Fee　chapels
  was　on　the　8th　of　September　pointed　rather　strongly　to　the
  supposition　that　there　was　a　connection　between　these　and　the
  recorded　flood　of　September　9；　1589。
  Turning　to　the　individual　chapels　they　are　as　follows：…
  1。　　The　Annunciation。　　The　treatment　here　presents　no　more　analogy
  to　that　of　the　same　subject　at　Varallo　than　is　inevitable　in　the
  nature　of　the　subject。　　The　Annunciation　figures　at　Varallo　have
  proved　to　be　mere　draped　dummies　with　wooden　heads；　Tabachetti；　even
  though　he　did　the　heads；　which　he　very　likely　did；　would　take　no
  interest　in　the　Varallo　work　with　the　same　subject。　　The
  Annunciation；　from　its　very　simplicity　as　well　as　from　the
  transcendental　nature　of　the　subject；　is　singularly　hard　to　treat；
  and　the　work　here；　whatever　it　may　once　have　been；　is　now　no　longer
  remarkable。
  2。　　The　Salutation　of　Mary　by　Elizabeth。　　This　group；　again；　bears
  no　analogy　to　the　Salutation　chapel　at　Varallo；　in　which
  Tabachetti's　share　was　so　small　that　it　cannot　be　considered　as　in
  any　way　his。　　It　is　not　to　be　expected；　therefore；　that　the　Saas
  chapel　should　follow　the　Varallo　one。　　The　figures；　four　in　number；
  are　pleasing　and　well　arranged。　　St。　Joseph；　St。　Elizabeth；　and　St。
  Zacharias　are　all　talking　at　once。　　The　Virgin　is　alone　silent。
  3。　　The　Nativity　is　much　damaged　and　hard　to　see。　　The　treatment
  bears　no　analogy　to　that　adopted　by　Gaudenzio　Ferrari　at　Varallo。
  There　is　one　pleasing　young　shepherd　standing　against　the　wall；　but
  some　figures　have　no　doubt　（as　in　others　of　the　chapels）
  disappeared；　and　those　that　remain　have　been　so　shifted　from　their
  original　positions　that　very　little　idea　can　be　formed　of　what　the
  group　was　like　when　Tabachetti　left　it。
  4。　　The　Purification。　　I　can　hardly　say　why　this　chapel　should
  remind　me；　as　it　does；　of　the　Circumcision　chapel　at　Varallo；　for
  there　are　more　figures　here　than　space　at　Varallo　will　allow。　　It
  cannot　be　pretended　that　any　single　figure　is　of　extraordinary
  merit；　but　amongst　them　they　tell　their　story　with　excellent　effect。
  Two；　those　of　St。　Joseph　and　St。　Anna　（？）；　that　doubtless　were　once
  more　important　factors　in　the　drama；　are　now　so　much　in　corners　near
  the　window　that　they　can　hardly　be　seen。
  5。　　The　Dispute　in　the　Temple。　　This　subject　is　not　treated　at
  Varallo。　　Here　at　Saas　there　are　only　six　doctors　now；　whether　or　no
  there　were　originally　more　cannot　be　determined。
  6。　　The　Agony　in　the　Garden。　　Tabachetti　had　no　chapel　with　this
  subject　at　Varallo；　and　there　is　no　resemblance　between　the　Saas
  chapel　and　that　by　D'Enrico。　　The　figures　are　no　doubt　a