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Updated: May 5, 2025
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. 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. The Agony in the Garden.
Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give.
Mount Calvary is still shown, as at Varallo, towards the left-hand corner of the work, but at Saas it is more towards the middle than at Varallo, so that horsemen and soldiers may be seen coming up behind it a stroke that deserves the name of genius none the less for the manifest imperfection with which it has been carried into execution.
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.
It can hardly be by the designer of the other chapels of the series. Perhaps Tabachetti had to leave for Crea before all the chapels at Saas were finished. Lastly, we have the larger chapel dedicated to St. Mary, which crowns the series. Here there is nothing of more than common artistic interest, unless we except the stone altar mentioned in Ruppen's chronicle.
If, however, the reader will bear in mind these somewhat obvious considerations, and will also remember the pathetic circumstances under which the chapels were designed for Tabachetti when he reached Saas was no doubt shattered in body and mind by his four years' imprisonment he will probably be not less attracted to them than I observed were many of the visitors both at Saas-Grund and Saas-Fee with whom I had the pleasure of examining them.
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.
Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give.
"Well, ye saas, I had to crawl up to 'em mighty careful, for if you step upon a stick no bigger than a tooth-pick, yees are sortin to wake up a slaapin' copper-skin " "So they were Indians, then," interrupted Elwood somewhat impatiently. "Do yes be aisy now, and not be interruptin' of me, and yer observations and questions which ain't naaded in this case.
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.
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