10.  The Crucifixion.  This subject was treated at Varallo not by Tabachetti but by Gaudenzio Ferrari.  It confirms therefore my opinion as to the designer of the Saas chapels to find in them no trace of the Varallo Crucifixion, while the kind of tunic which at Varallo is only found in chapels wherein Tabachetti worked again appears here.  The work is in a deplorable state of decay.  Mr. Selwyn has greatly improved the arrangement of the figures, but even now they are not, I imagine, quite as Tabachetti left them.  The figure of Christ is greatly better in technical execution than that of either of the two thieves; the folds of the drapery alone will show this even to an unpractised eye.  I do not think there can be a doubt but that Tabachetti cut this figure himself, as also those of the Magdalene and St. John, who stand at the foot of the cross.  The thieves are coarsely executed, with no very obvious distinction between the penitent and the impenitent one, except that there is a fiend painted on the ceiling over the impenitent thief.  The one horse introduced into the composition is again of the heavy Flemish type adopted by Tabachetti at Varallo.  There is great difference in the care with which the folds on the several draperies have been cut, some being stiff and poor enough, while others are done very sufficiently.  In spite of smallness of scale, ignoble material, disarrangement and decay, the work is still striking.

11.  The Resurrection.  There being no chapel at Varallo with any of the remaining subjects treated at Saas, the sculptor has struck out a line for himself.  The Christ in the Resurrection Chapel is a carefully modelled figure, and if better painted might not be ineffective.  Three soldiers, one sleeping, alone remain.  There were probably other figures that have been lost.  The sleeping soldier is very pleasing.

12.  The Ascension is not remarkably interesting; the Christ appears to be, but perhaps is not, a much more modern figure than the rest.

13.  The Descent of the Holy Ghost.  Some of the figures along the end wall are very good, and were, I should imagine, cut by Tabachetti himself.  Those against the two side walls are not so well cut.

14.  The Assumption of the Virgin Mary.  The two large cherubs here are obviously by a later hand, and the small ones are not good.  The figure of the Virgin herself is unexceptionable.  There were doubtless once other figures of the Apostles which have disappeared; of these a single St. Peter (?), so hidden away in a corner near the window that it can only be seen with difficulty, is the sole survivor.

15.  The Coronation of the Virgin is of later date, and has probably superseded an earlier work.  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.  This is of course classical in style, and is, I should think, very good.