No living creatures are in sight, except two children who are playing on the bridge. In answer to a question they state that the booths and other unclerical objects are for the pilgrims of whom they speak with pride. The pilgrims, it appears, do not come regularly. They do not come in ones and twos in the guise of weary men limping on staffs. They come on occasions and in thousands, arriving in char-à-bancs, in motors, in omnibuses, in gigs, in farm carts, on horses, on donkeys, on bicycles and on foot, a crowd of cheerful men and women dressed in their best. A photograph of one such pilgrimage day—exhibited as a postcard—shows the single highway of Laghet as packed with people as any part of the race-course at Epsom, with people too somewhat of the type that is found at such a gathering. Incongruous as the crowd may be it is moved by a fine and estimable spirit much to be respected. People journey to Laghet from far and near to return thanks to Our Lady for preservation from accident, for recovery from disease, for escape from trouble; while yet a greater number come to place themselves under the protection of the revered image which has made this quiet glen so famous. It is said that the church of the monastery stands upon the site of a little ancient chapel; that the new church was inaugurated in 1656 and that the barefooted Carmelites were established here in 1674. Miracles in the matter of recovery from sickness or of escape from dire mishap commenced in 1652, when the little old ruined chapel was still standing. From that moment the sanctuary in this remote and desolate valley was much sought after. Eminent personages made their way to Laghet and among those who came to offer homage were Charles Emmanuel II, Victor Amédée and his wife, Anne of Orleans. Since then the crowd of pilgrims has increased year by year so that on the great _festa_ of Laghet, on Trinity Sunday, the little place is submerged by an overwhelming throng. The monastery is entered through a portal of three arches which leads at once into a cloister whose walls are covered by ex-voto pictures. These pictures are small, being, as a rule, from one to two feet square. They date from various periods; one of the oldest being ascribed to the year 1793. The majority belong, however, to the nineteenth century. Not a few are so faded as to be scarcely discernible. Beneath each picture is a brief account of the incident portrayed, a large proportion of the descriptions being in Italian. Two or three out of the vast collection—which includes many hundreds—possess some artistic merit; but the mass are crude productions as simple as the drawings of a child and as regardless of perspective and as lavish in colour as the signboard of a village inn, while a few show but a little advance upon the more earnest sketches in a prehistoric cave.