himself, of whom, indeed, they are not unworthy.  On examining the figures I found them more heavily constructed than Tabachetti’s are, with smaller holes for taking out superfluous clay, and more finished on the off-sides.  Marocco says the sculptor is not known.  I looked in vain for any date or signature.  Possibly the right-hand figures (for the left-hand ones can hardly be by the same hand) may be by some sculptor from Crea, which is at no very great distance from Oropa, who was penetrated by Tabachetti’s influence; but whether as regards action and concert with one another, or as regards excellence in detail, I do not see how anything can be more realistic, and yet more harmoniously composed.  The placing of the musicians in a minstrels’ gallery helps the effect; these musicians are six in number, and the other figures are twenty-three.  Under the table, between Christ and the giver of the feast, there is a cat.

The fourteenth chapel, the Assumption of the Virgin Mary, is without interest.

The fifteenth, the Coronation of the Virgin, contains forty-six angels, twenty-six cherubs, fifty-six saints, the Holy Trinity, the Madonna herself, and twenty-four innocents, making 156 statues in all.  Of these I am afraid there is not one of more than ordinary merit; the most interesting is a half-length nude life-study of Disma—­the good thief.  After what had been promised him it was impossible to exclude him, but it was felt that a half-length nude figure would be as much as he could reasonably expect.

Behind the sanctuary there is a semi-ruinous and wholly valueless work, which shows the finding of the black image, which is now in the church, but is only shown on great festivals.

This leads us to a consideration that I have delayed till now.  The black image is the central feature of Oropa; it is the raison d’etre of the whole place, and all else is a mere incrustation, so to speak, around it.  According to this image, then, which was carved by St. Luke himself, and than which nothing can be better authenticated, both the Madonna and the infant Christ were as black as anything can be conceived.  It is not likely that they were as black as they have been painted; no one yet ever was so black as that; yet, even allowing for some exaggeration on St. Luke’s part, they must have been exceedingly black if the portrait is to be accepted; and uncompromisingly black they accordingly are on most of the wayside chapels for many a mile around Oropa.  Yet in the chapels we have been hitherto considering—­works in which, as we know, the most punctilious regard has been shown to accuracy—­both the Virgin and Christ are uncompromisingly white.  As in the shops under the Colonnade where devotional knick-knacks are sold, you can buy a black china image or a white one, whichever you like; so with the pictures—­the black and white are placed side by side—­pagando il danaro si puo scegliere.  It rests not with history or with the Church to say whether the Madonna and Child were black or white, but you may settle it for yourself, whichever way you please, or rather you are required, with the acquiescence of the Church, to hold that they were both black and white at one and the same time.