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arrangement and his details from some picture of the fourteenth or
fifteenth century； when the value of the strictest historical
accuracy was not yet so fully understood。
It seems to me that in the matter of accuracy； priests and men of
science whether lay or regular on the one hand； and plain people
whether lay or regular on the other； are trying to play a different
game； and fail to understand one another because they do not see
that their objects are not the same。 The cleric and the man of
science （who is only the cleric in his latest development） are
trying to develop a throat with two distinct passagesone that
shall refuse to pass even the smallest gnat； and another that shall
gracefully gulp even the largest camel； whereas we men of the street
desire but one throat； and are content that this shall swallow
nothing bigger than a pony。 Every one knows that there is no such
effectual means of developing the power to swallow camels as
incessant watchfulness for opportunities of straining at gnats； and
this should explain many passages that puzzle us in the work both of
our clerics and our scientists。 I； not being a man of science；
still continue to do what I said I did in 〃Alps and Sanctuaries；〃
and make it a rule to earnestly and patiently and carefully swallow
a few of the smallest gnats I can find several times a day； as the
best astringent for the throat I know of。
The thirteenth chapel is the Marriage Feast at Cana of Galilee。
This is the best chapel as a work of art； indeed； it is the only one
which can claim to be taken quite seriously。 Not that all the
figures are very good； those to the left of the composition are
commonplace enough； nor are the Christ and the giver of the feast at
all remarkable； but the ten or dozen figures of guests and
attendants at the right…hand end of the work are as good as anything
of their kind can be； and remind me so strongly of Tabachetti that I
cannot doubt they were done by some one who was indirectly
influenced by that great sculptor's work。 It is not likely that
Tabachetti was alive long after 1640； by which time he would have
been about eighty years old； and the foundations of this chapel were
not laid till about 1690； the statues are probably a few years
later； they can hardly； therefore； be by one who had even studied
under Tabachetti； but until I found out the dates； and went inside
the chapel to see the way in which the figures had been constructed；
I was inclined to think they might be by Tabachetti 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
Dismathe 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 consideringworks in which； as we
know； the most punctilious regard has been shown to accuracyboth
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 picturesthe black and white are placed side by sidepagando
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。
It cannot be maintained that the Church leaves the matter undecided；
and by tolerating both types proclaims the question an open one； for
she acquiesces in the portrait by St。 Luke as genuine。 How； then；
justify the whiteness of the Holy Family in the chapels？ If the
portrait is not known as genuine； why set such a stumbling…block in
our paths as to show us a black Madonna and a white one； both as
historically accurate； within a few yards of one another？
I ask this not in mockery； but as knowing that the Church must have
an explanation to give； if she would only give it； and as myself
unable to find any； even the most farfetched； that can bring what we
see at Oropa； Loreto and elsewhere into harmony with modern
conscience； either intellectual or ethical。
I see； indeed； from an interesting article in the Atlantic Monthly
for September 1889； entitled 〃The Black Madonna of Loreto；〃 that
black Madonnas were so frequent in ancient Christian art that 〃some
of the early writers of the Church felt obliged to account for it by
explaining that the Virgin was of a very dark complexion； as might
be proved by the verse of Canticles which says； 'I am black； but
comely； O ye daughters of Jerusalem。' Others maintained that she
became black during her sojourn in Egypt。 。 。 。 Priests； of to…day；
say that extreme age and exposure to the smoke of countless altar…
candles have caused that change in complexion which the mo