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MRAP Directory 19
Page 10
Italy, and then Germany, joined their ally in support of Albania. Russia, at the same time not wishing to give any greater impetus to the Bulgarian campaign, dexterously manipulated Rumania, which raised at that time her first claims on Dobrudja. France, who for the last twenty-five years has subjected her Near Eastern policy to the exigencies of the Petrograd statesmen, agreed to the Albanian proposals of the four powers, and finally Great Britain, fearing complications, declared abruptly through Sir Edward Grey that the Balkan war was one of conquest, and for that reason subject to European intervention. In this way European diplomacy stepped into the Balkan conflict and took charge of the final settlement of the first war.
Many disturbances occurred during Edward's reign in different parts of the country, especially on the Welsh border. At the Christmas meeting of the King and his Wise Men, at Gloucester, in 1053, it was ordered that Rhys, the brother of Gruffydd, the South Welsh king, be put to death for his great plunder and mischief. The same year, the great Earl Godwine, while dining with the king at Winchester at the Easter feast, suddenly fell in a fit, died four days after, and was buried in the old cathedral. A few years later (1065), the Northumbrians complained that Earl Tostig, Harold's brother, had caused Gospatric, one of the chief Thanes, to be treacherously murdered when he came to the King's court the Christmas before. King Edward kept his last Christmas (1065), and had the meeting of his Wise Men in London instead of Gloucester as usual. His great object was to finish his new church at Westminster, and to have it hallowed before he died. He lived just long enough to have this done. On Innocent's Day the new Minster was consecrated, but the King was too ill to be there, so the Lady Edith stood in his stead.
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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