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In all our conversations the Colonel regularly informed me about the secret news which he had concerning the military circumstances and the situation of our eastern neighbors, &c. At the same time he emphasized that Belgium was under the imperative necessity to keep herself constantly informed of the happenings in the adjoining Rhinelands. I had to admit that with us the surveillance service abroad was, in times of peace, not directly in the hands of the General Staff, as our legations had no Military Attaches. But I was careful not to admit that I did not know whether the espionage service which is prescribed in our regulations was in working order or not. But I consider it my duty to point out this position which places us in a state of evident inferiority to our neighbors, our presumable enemies.

Count Tolstoi too must be listed with these preachers. He, making his own shoes and cutting his own and the peasants' grain, lived it, showing how he thought the world's work ought to be done. What were factories or the culture of the west to him in later years--Shakespeare or no Shakespeare? Destructive ideals of life. Competition, money and land greed, self-assertion--all things that are the anthitheses of Slavophilism--he shunned; mocking the palsied heart and poisoned ideals of the west, and indeed of the "upper class" section of his own land as no other Slavophile did. And following its teaching, he journeyed through self-renunciation to freedom and communal life, after repentance for his wanderings, expiation and regeneration.

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.

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