circle of Giovanni Bellini circa 1505 oil on wood, is what
he fits between his third and fourth weekly pill boxes,
to remind himself to reorder. His routine about the anti-
virals is of greater magnitude, maybe, than the one in which
Mrs. Gardner used to place a vase of violets in front
of the painting, when she owned it. This card’s only
a reproduction of the Passion, not the original. But we’ve seen
how imitation and daily use can make of pity and fear
an almost cozy utensil. The Savior’s torso is pointed
toward the royal climb, but his unreadable eye turns out,
loosing on you, passerby, a tear of blood and milk.
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