Being in the neighbourhood, and wishing to assure myself whether the sculptor of the Saas-Fee chapels had or had not come lower down the valley, I examined every church and village which I could hear of as containing anything that might throw light on this point. I was thus led to Vispertimenen, a village some three hours above either Visp or Stalden. It stands very high, and is an almost untouched example of a medieval village. The altar-piece of the main church is even more floridly ambitious in its abundance of carving and gilding than the many other ambitious altar-pieces with which the Canton Valais abounds. The Apostles are receiving the Holy Ghost on the first storey of the composition, and they certainly are receiving it with an overjoyed alacrity and hilarious ecstasy of allegria spirituale which it would not be easy to surpass. Above the village, reaching almost to the limits beyond which there is no cultivation, there stands a series of chapels like those I have been describing at Saas-Fee, only much larger and more ambitious. They are twelve in number, including the church that crowns the series. The figures they contain are of wood (so I was assured, but I did not go inside the chapels): they are life-size, and in some chapels there are as many as a dozen figures. I should think they belonged to the later half of the eighteenth century, and here, one would say, sculpture touches the ground; at least, it is not easy to see how cheap exaggeration can sink an art more deeply. The only things that at all pleased me were a smiling donkey and an ecstatic cow in the Nativity chapel. Those who are not allured by the prospect of seeing perhaps the very worst that can be done in its own line, need not be at the pains of climbing up to Vispertimenen. Those, on the other hand, who may find this sufficient inducement will not be disappointed, and they will enjoy magnificent views of the Weisshorn and the mountains near the Dom. I have already referred to the triptych at Gliss. This is figured in Wolf's work on Chamonix and the Canton Valais, but a larger and clearer reproduction of such an extraordinary work is greatly to be desired. The small wooden statues above the triptych, as also those above its modern companion in the south transept, are not less admirable than the triptych itself. I know of no other like work in wood, and have no clue whatever as to who the author can have been beyond the fact that the work is purely German and eminently Holbeinesque in character.