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