e, especially in bad weather. They also sometimes overflow
picturesquely, and kneel praying on the steps while service is going on
inside." (_Memoir_, I. 284-5.)

In _Alps and Sanctuaries_, ch. iv., is an illustration showing the people
kneeling on the steps while "there came a sound of music through the open
door--the people lifting up their voices and singing, as near as I can
remember, something which on the piano would come thus:" and then follow
a few bars of chords.

In the list which appeared in _The Eagle_, vol. xxxix., no. 175, March
1918, writing of no. 38: "Rossura: the altar by the porch of the church,
1878," I said that it had been removed. On reconsideration, I am not
sure that it has been removed; but I have not been to Rossura for thirty
years or more and cannot now say for certain. I believe, however, that
it is still there, and that when I said it had been removed I was
thinking of the alteration of an opening which there was formerly in the
west wall of the porch, under the portrait of S. Carlo Borromeo, which
hangs between the two windows. This opening is mentioned in ch. iv. of
_Alps and Sanctuaries_, and Butler says that it had to be closed because
the wind blew through it and made the church too cold. It is shown with
the portrait and the two windows in another illustration in ch. iv.

The first illustration in ch. iv. of _Alps and Sanctuaries_ shows how the
chapel with the altar in it (no. 38) is placed in relation to the porch.
This is the chapel he was thinking of when he wrote:

"The church has been a good deal restored during the last few years,
and an interesting old chapel--with an altar in it--at which Mass was
said during a time of plague, while the people stood some way off in a
meadow, has just been entirely renovated; but, as with some English
churches, the more closely a piece of old work is copied, the more
palpably does the modern spirit show through it, so here the opposite
occurs, for the old-worldliness of the place has not been impaired by
much renovation, though the intention has been to make everything as
modern as possible."

In 1878, the first time I was with Butler in Italy and in the Canton
Ticino, he talked a great deal about the porch of Rossura; there is a
passage in ch. xvi. of the _Memoir_ about it. For him it was the work of
a man who did it because he sincerely wanted to do it, and who learnt how
to do by doing; it was not the w