At Almagel, an hour's walk or so above Saas-Grund--a village, the name of which, like those of the Alphubel, the Monte Moro, and more than one other neighbouring site, is supposed to be of Saracenic origin--the main altar-piece represents a female saint with folded arms being beheaded by a vigorous man to the left. These two figures are very good. There are two somewhat inferior elders to the right, and the composition is crowned by the Assumption of the Virgin. I like the work, but have no idea who did it. Two bishops flanking the composition are not so good. There are two other altars in the church: the right-hand one has some pleasing figures, not so the left-hand. In St. Joseph's Chapel, on the mule-road between Saas-Grund and Saas-Fee, the St. Joseph and the two children are rather nice. In the churches and chapels which I looked into between Saas and Stalden, I saw many florid extravagant altar-pieces, but nothing that impressed me favourably. In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chancel in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, analogous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.