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Show BY PATH AND TKAIL. 119 in their terrible realism, the look of the agonized Cruci fied so appealing and so full of love that tears of sym pathy welled from the eyes of the libertine. Then before, and hiding the face of the Christ, he saw the face of his mother, and the eyes that looked their last upon him when she lay upon her bed of death in their home in Madrid. Eushing past his tempter, the young Castilian flung him self at the feet of the Christ and cried aloud: " Jesus, son of David, have mercy on me." When, sobbing and broken- hearted, he rose erect he was alone with the dead Christ and the unsigned compact. JULIAN GAUGES' COPY. In Garces' painting on glass, the dying Christ stands out in full relief with no perspective. Behind the cross all is darkness save alone a thread of lightning, snake-like and forked. Over Calvary the sky is lurid and of a dull red, whose fiery hue in portentous, lugubrious and awe- inspiring. The body of the dying Savior, the little board above the cross, with its prophetic inscription: " Jesus of Nazareth, King of the Jews ;" and parts of the cross which the Divine Body did not cover, alone occupy space. Beyond and around them nothing, only the black ness of ebon darkness. Save the ribbon of snake- like lightning coming out of and piercing the impenetrable darkness, there is nothing; not a ray of light anywhere, no mark of a horizon, naught but the body of the Man- God, the gibbet and night, moonless and starless. But the isolation of the Figure on the lone Cross, the pitiable solitude encompassing the Crucified, the blood oozing from the frayed wound and trickling down the pallid flesh, and the Divine Face from which expression, anima tion and life itself are lingeringly departing, appeal to |