Abelaide Ontogoya Sectory 07
Page 06

The dead are buried in secret, only a few of the close relations having knowledge of the place. Immediately after death the body is carried on horseback to a high point, where it is placed on the ground and covered with the personal possessions of the deceased, such as clothing, blankets, saddles, and weapons, and over all are heaped brush and stones. Formerly a man's horse was killed near his grave, and sometimes as many as three or four horses were similarly sacrificed at different places. In former times also the _kozhan_ was burned after the burial, and members of the family cut their hair as a sign of mourning. The souls of the dead are believed to rise skyward. In one portion of the sky, among vast herds of buffalo, all those who have met death in battle assemble, rich and happy; in another part, those who have succumbed to sickness and old age. The evil, or those who have practised witchcraft, have a place apart from the rest. Between the latter and the spirits of the good stands a high rock wall at which the evil ones are condemned to dig for eternity in an effort to reach the happier home. Spirits can work only in darkness, and the work of the night is ever brought to naught by recurring daylight.

Whether this extraordinary act was demanded by Innocent or suggested by John, the evidence does not permit us to say. The balance of probabilities, however, inclines strongly to the opinion that it was a voluntary act of the king's. There is nothing in the papal documents to indicate any such demand, and it is hardly possible that the pope could have believed that he could carry the matter so far. On the other hand, John was able to see clearly that nothing else would save him. He had every reason to be sure that no ordinary reconciliation with the papacy would check the invasion of Philip or prevent the treason of the barons. If England were made a possession of the pope, the whole situation would take on a different aspect. Not only would all Europe think Innocent justified in adopting the most extreme measures for the defence of his vassal, but also the most peculiar circumstances only would justify Philip in going on with his attack, and without him disaffection at home was powerless. We should be particularly careful not to judge this act of John's by the sentiment of a later time. There was nothing that seemed degrading to that age about becoming a vassal. Every member of the aristocracy of Europe and almost every king was a vassal. A man passed from the classes that were looked down upon, the peasantry and the bourgeoisie, into the nobility by becoming a vassal. The English kings had been vassals since feudalism had existed in England, though not for the kingdom, and only a few years before Richard had made even that a fief of the empire. There is no evidence that John's right to take this step was questioned by any one, or that there was any general condemnation of it at that time. One writer a few years later says that the act seemed to many "ignominious," but he records in the same sentence his own judgment that John was "very prudently providing for himself and his by the deed."[77] Even in the rebellion against John that closed his reign no objection was made to the relationship with the papacy, nor was the king's right to act as he did denied, though his action was alleged by his enemies to be illegal because it did not have the consent of the barons. John's charter of concession, however, expressly affirms this consent, and the barons on one occasion seem to have confirmed the assertion.[78]

ALIPPI-FABRETTI, QUIRINA. Silver medal at Perugia in 1879; honorary member of the Royal Academy in Urbino and of the Academy of Fine Arts in Perugia. Born in Urbino, 1849. She was the daughter of the jurisconsult Luigi Alippi. She studied drawing and painting in Rome with Ortis and De Sanctis. Following her father to Perugia in 1874, whither he had been called to the Court of Appeals, she continued her study under Moretti. She married Ferdinando Fabretti in 1877. She made admirable copies of some of the best pictures in Perugia, notably Perugino's "Presepio" for a church in Mount Lebanon, Syria. She was also commissioned to paint an altar-piece, representing St. Stephen, for the same church. Her interiors are admirable. She exhibited an "Interior of the Great Hall of the Exchange of Perugia" in 1884, at Turin. She painted two interior views of the church of San Giovanni del Cambio in Perugia, and an interior of the vestibule of the Confraternity of St. Francis. Her other works, besides portraits, include an "Odalisk," an "Old Woman Fortune-teller," and a "St. Catherine."

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