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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.

The rougher the method of assay adopted, the larger should be the quantity of ore taken. If the degree of accuracy attainable with the methods and instruments at the assayer's service is known, it is easy to calculate what quantity should be taken for any particular case. If the results are good within 0.001 gram, then, taking 1 gram of ore we can report within 0.1 per cent., or if they are good within 0.0002 gram, taking 20 grams of ore, we can report within 1 part per 100,000, or very closely within 6-1/2 dwt. to the ton. If it is wished to be yet more particular in reporting, larger quantities must be taken. The difficulty of manipulating very small or very large precipitates, &c., must be borne in mind. So, too, must the fact that the greater the weight of the final product of an assay, the less, as a rule, is the percentage error. The distinction between absolute and percentage error, often overlooked, is important. If 0.5 gram of silver be cupelled with 20 grams of lead, there may be obtained a button of 0.495 gram; the absolute loss is 0.005 gram, and this equals 1 per cent. of the silver present. Similarly, cupelling 0.1 gram, the resulting button may be 0.098; the absolute loss is only 0.002 gram, but this equals 2 per cent. of the silver present. In the same way the student should see that the two results, 91.5 per cent. and 92.0 per cent., are really more concordant than the results 9.1 per cent. and 9.2 per cent.

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