Twilight in Italy | Page 5

and was thin, and his body was hanging almost lightly,
whereas the other Christ was large and dark and handsome. But in this,
as well as in the other, was the same neutral triumph of death, complete,
negative death, so complete as to be abstract, beyond cynicism in its
completeness of leaving off.
Everywhere is the same obsession with the fact of physical pain,
accident, and sudden death. Wherever a misfortune has befallen a man,
there is nailed up a little memorial of the event, in propitiation of the
God of hurt and death. A man is standing up to his waist in water,
drowning in full stream, his arms in the air. The little painting in its
wooden frame is nailed to the tree, the spot is sacred to the accident.
Again, another little crude picture fastened to a rock: a tree, falling on a
man's leg, smashes it like a stalk, while the blood flies up. Always there
is the strange ejaculation of anguish and fear, perpetuated in the little
paintings nailed up in the place of the disaster.
This is the worship, then, the worship of death and the approaches to
death, physical violence, and pain. There is something crude and

sinister about it, almost like depravity, a form of reverting, turning back
along the course of blood by which we have come.
Turning the ridge on the great road to the south, the imperial road to
Rome, a decisive change takes place. The Christs have been taking on
various different characters, all of them more or less realistically
conveyed. One Christus is very elegant, combed and brushed and
foppish on his cross, as Gabriele D'Annunzio's son posing as a
martyred saint. The martyrdom of this Christ is according to the most
polite convention. The elegance is very important, and very Austrian.
One might almost imagine the young man had taken up this striking
and original position to create a delightful sensation among the ladies.
It is quite in the Viennese spirit. There is something brave and keen in
it, too. The individual pride of body triumphs over every difficulty in
the situation. The pride and satisfaction in the clean, elegant form, the
perfectly trimmed hair, the exquisite bearing, are more important than
the fact of death or pain. This may be foolish, it is at the same time
admirable.
But the tendency of the crucifix, as it nears the ridge to the south, is to
become weak and sentimental. The carved Christs turn up their faces
and roll back their eyes very piteously, in the approved Guido Reni
fashion. They are overdoing the pathetic turn. They are looking to
heaven and thinking about themselves, in self-commiseration. Others
again are beautiful as elegies. It is dead Hyacinth lifted and extended to
view, in all his beautiful, dead youth. The young, male body droops
forward on the cross, like a dead flower. It looks as if its only true
nature were to be dead. How lovely is death, how poignant, real,
satisfying! It is the true elegiac spirit.
Then there are the ordinary, factory-made Christs, which are not very
significant. They are as null as the Christs we see represented in
England, just vulgar nothingness. But these figures have gashes of red,
a red paint of blood, which is sensational.
Beyond the Brenner, I have only seen vulgar or sensational crucifixes.
There are great gashes on the breast and the knees of the Christ-figure,
and the scarlet flows out and trickles down, till the crucified body has

become a ghastly striped thing of red and white, just a sickly thing of
striped red.
They paint the rocks at the corners of the tracks, among the mountains;
a blue and white ring for the road to Ginzling, a red smear for the way
to St Jakob. So one follows the blue and white ring, or the three stripes
of blue and white, or the red smear, as the case may be. And the red on
the rocks, the dabs of red paint, are of just the same colour as the red
upon the crucifixes; so that the red upon the crucifixes is paint, and the
signs on the rocks are sensational, like blood.
I remember the little brooding Christ of the Isar, in his little cloak of
red flannel and his crown of gilded thorns, and he remains real and dear
to me, among all this violence of representation.
'Couvre-toi de gloire, Tartarin--couvre-toi de flanelle.' Why should it
please me so that his cloak is of red flannel?
In a valley near St Jakob, just over the ridge, a long way from the
railway, there is a very big, important shrine by the roadside. It is a
chapel built in the baroque manner, florid pink and cream outside, with
opulent small