Beyond the old church the hill slopes up to the Badrutt Park, named after a famous dynasty of hoteliers. Here is provision for golf, abounding in speculative and absorbing contingencies. In the larch wood on the upper road from St. Moritz to Camfer is the Segantini Museum, in which are gradually being collected works of the painter who loved and studied the Engadine with life-long devotion. In the way of pictures, St. Moritz possesses a treasure of the last kind one would look to find in a mountain village. In the Palace Hotel is--what shall I say?--a copy, a replica, the original, for even that claim has been made for it, of Raphael's Madonna di S. Sisto, assuredly the noblest presentment of motherhood that the world can show. By a happy inspiration it has been placed in the Ladies' Room, where it must awaken a _Magnificat_ in many a heart. Apart from technique, there are slight but unmistakable differences between it and its famous compeer at Dresden. In the Madonna's gaze is less of wonder and amazement, something reaching far into futurity, assurance of final triumph and disdain of intermediate obstacle; not yet had the sword that should go through {15} her soul set its sign on the young mother's face. In the Child the difference is in an opposite sense; in both pictures there is the same wonderful suggestion of the awakening of the divine spirit amid the strange limitations of humanity, but here it is rather the human pathos than the divine power that holds our attention; there is less imperial moulding of brow and mouth, less profound mastery in the eyes: the eyes to which all things were open but which saw them now as man sees, appear contemplating with perplexed wonder the path that was to be trodden--he had known it all along, but it looked so different now. In the flat land at the head of the lake, a little more than a mile from St. Moritz, and linked to it by an electric tramway, are the famous chalybeate springs, round which has grown up the cluster of buildings known as St. Moritzbad. About half-way down, on the larch-clad slope that rises to the right of the road, is the Museum Engiadinais, the charming building in old Engadine styles in which Signur Hartmann has housed the magnificent collection of Rhaetian antiquities made by Signur Campell of Celerina. To speak of this museum as a collection of antiquities gives a very inadequate notion of its interior. Whole rooms, halls and corridors have been installed there, and, combined with the old styles of the building and the furniture and surroundings of {16} old life, make wandering about it like an excursion into the past.