to emphasize him in the succeeding scenes as well as this, in the same way as he has been emphasized at Varallo, but his nose got pared down in the cutting of later scenes, and could not easily be added to.  The man binding Christ to the column at Varallo is repeated (longo intervallo) here, and the whole work is one inspired by that at Varallo, though no single figure except that of the Christ is adhered to with any very great closeness.  I think the nearer malefactor, with a goitre, and wearing a large black hat, is either an addition of the year 1709, or was done by the journeyman of the local sculptor who carved the greater number of the figures.  The man stooping down to bind his rods can hardly be by the same hand as either of the two black-hatted malefactors, but it is impossible to speak with certainty.  The general effect of the chapel is excellent, if we consider the material in which it is executed, and the rudeness of the audience to whom it addresses itself.

8.  The Crowning with Thorns.  Here again the inspiration is derived from Tabachetti’s Crowning with Thorns at Varallo.  The Christs in the two chapels are strikingly alike, and the general effect is that of a residuary impression left in the mind of one who had known the Varallo Flagellation exceedingly well.

9.  Sta.  Veronica.  This and the next succeeding chapels are the most important of the series.  Tabachetti’s Journey to Calvary at Varallo is again the source from which the present work was taken, but, as I have already said, it has been modified in reproduction.  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.  There are only three horses fully shown, and one partly shown.  They are all of the heavy Flemish type adopted by Tabachetti at Varallo.  The man kicking the fallen Christ and the goitred man (with the same teeth missing), who are so conspicuous in the Varallo Journey to Calvary, reappear here, only the kicking man has much less nose than at Varallo, probably because (as explained) the nose got whittled away and could not be whittled back again.  I observe that the kind of lapelled tunic which Tabachetti, and only Tabachetti, adopts at Varallo, is adopted for the centurion in this chapel, and indeed throughout the Saas chapels this particular form of tunic is the most usual for a Roman soldier.  The work is still a very striking one, notwithstanding its translation into wood and the decay into which it has been allowed to fall; nor can it fail to impress the visitor who is familiar with this class of art as coming from a man of extraordinary dramatic power and command over the almost impossible 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.