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Updated: May 5, 2025
Joseph's Chapel, on the mule-road between Saas-Grund and Saas-Fee, the St. Joseph and the two children are rather nice. In the churches and chapels which I looked into between Saas and Stalden, I saw many florid extravagant altar-pieces, but nothing that impressed me favourably. In the parish church at Saas-Grund there are two altar-pieces which deserve attention.
The Schwartzberg-Weissthor, a pass from Zermatt to Mattmark in the Saas Valley, is indeed easy. It is nothing more than a long "snow-grind," as mountaineers say. It is supposed to take ten hours, and it can certainly be done in the time by guides. But then guides can always go twice as fast as any but the first flight of amateurs.
Anne at Gliss, close to Brieg. But, in the first place, the work at Gliss is worthy of Holbein himself; I know no wood-carving that can so rivet the attention; moreover it is coloured with water-colour and not oil, so that it is tinted, not painted; and, in the second place, the Gliss triptych belongs to a date when artists held neither time nor impressionism as objects, and hence, though greatly better than the Saas-Fee chapels as regards a certain Japanese curiousness of finish and naivete of literal transcription, it cannot even enter the lists with the Saas work as regards elan and dramatic effectiveness.
And there, about Saas, are ice and snows again, and sometimes we will loiter among the rocks and trees about Saas or peep into Samuel Butler's chapels, and sometimes we will climb up out of the way of the other people on to the glaciers and snow. And, for one expedition at least, we will go up this desolate valley here to Mattmark, and so on to Monte Moro. There indeed you see Monte Rosa.
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?
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.
They were now both in a state of unprecedented physical fitness. And such skirts as Ann Veronica had had when she entered the valley of Saas were safely packed away in the hotel, and she wore a leather belt and loose knickerbockers and puttees a costume that suited the fine, long lines of her limbs far better than any feminine walking-dress could do.
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. 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.
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.
Fortescue, of the British Museum, that there were some chapels at Saas-Fee which bore analogy to those at Varallo, described in my book "Ex Voto," I went to Saas during this last summer, and venture now to lay my conclusions before the reader. The chapels are fifteen in number, and lead up to a larger and singularly graceful one, rather more than half-way between Saas and Saas-Fee.
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