Parnamoya Grandafoeti Sectory 09
Page 08

Once more I must caution the reader against expecting to find highly-finished gems of art in the chapels I have been describing. A wooden figure not more than two feet high clogged with many coats of paint can hardly claim to be taken very seriously, and even those few that were cut by Tabachetti himself were not meant to have attention concentrated on themselves alone. As mere wood-carving the Saas-Fee chapels will not stand comparison, for example, with the triptych of unknown authorship in the Church of St. 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 (1519) 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. The difference between the two classes of work is much that between, say, John Van Eyck or Memling and Rubens or Rembrandt, or, again, between Giovanni Bellini and Tintoretto; the aims of the one class of work are incompatible with those of the other. Moreover, in the Gliss triptych the intention of the designer is carried out (whether by himself or no) with admirable skill; whereas at Saas the wisdom of the workman is rather of OberAmmergau than of the Egyptians, and the voice of the poet is not a little drowned in that of his mouthpiece. 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.

When the Romans returned to the heap of ruins which was once their city their hearts sank within them. The people shrank from the expense and toil of rebuilding their houses, and loudly demanded that they should all remove to Veii, where the private dwellings and public buildings were still standing. But Camillus and the Patricians strongly urged them not to abandon the homes of their fathers, and they were at length persuaded to remain. The state granted bricks, and stones were fetched from Veii. Within a year the city rose from its ashes; but the streets were narrow and crooked; the houses were frequently built over the sewers; and the city continued to show, down to the great fire of Nero, evident traces of the haste and irregularity with which it had been rebuilt. Rome was now deprived of almost all her subjects, and her territory was reduced to nearly its original limits. The Latins and Hernicans dissolved the League with the Romans, and wars broke out on every side. In these difficulties and dangers Camillus was the soul of the Republic. Again and again he led the Roman legions against their enemies, and always with success. The rapidity with which the Romans recovered their power after so terrible a disaster would seem unaccountable but for the fact that the other nations had also suffered greatly from the inroads of the Gauls, who still continued to ravage Central Italy. Two of their invasions of the Roman territory are commemorated by celebrated legends, which may be related here, though they belong to a later period.

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