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 Ober-
Ammergau than of the Egyptians, and the voice of the poet is not a
little drowned in that of his mouthpiece.
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