78 IN THE LAND OF THE BORA. 



of walking about can do. I am, however, not sure 

 that it is at present open to the public. 



The other churches of Spalatro are noticeable 

 only from the fact that half a dozen more utterly 

 hideous and tasteless sacred edifices it would be 

 impossible to find in a western city in the States. 



Spalatro has of recent years outgrown the 

 limits of the old palace, and forms three large 

 modern suburbs, which contain, not unnaturally, 

 nothing of interest. I may perhaps, as my 

 kinsman is its superior, be allowed to except the 

 handsome building the Society of Jesus has 

 recently built. It was, however, not by any means 

 completed at the time of our visit. When it is 

 finished it will be worth a visit, if only for the sake 

 of one picture to be hung in the chapel — a Cruci- 

 fixion. The real meacing of the Great Sacrifice is 

 generally obscured in art by such accessories as 

 beautiful women, disciples, soldiers, doves, or 

 haloes of glory. Here it is not the case. The 

 picture represents simply the dead Christ hanging 

 on the cross in a position into which a last 

 contortion of agony has drawn him. The wounds 

 are wounds, not the neatly dressed injuries with 

 which painters have made us familiar. In short, the 

 picture is reality without approaching the repulsive 

 realism of Gay, whose picture has recently been 

 brought before the British public. The artist's 

 name, nay, even the school or date, is unknown. 



