12. The Ascension is not remarkably interesting; the Christ appears
to be, but perhaps is not, a much more modern figure than the rest.
18. 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superseded an earlier work.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.
Once more I must caution the reader against expecting to find
highly-finished gems of art in the chapels I have been describing.
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