[Illustration: FIGURE 30. RELIGIOUS PRINTS IN TIN FRAMES. SIZE: 52.1 centimeters high (center). DATE: First three-quarters of 19th century. ORIGIN: Prints imported to New Mexico; frames from New Mexico, unidentified tinsmiths. LOCATION: East _morada_, walls in chapel (west) room. MANUFACTURE: Tin frames: cut, repoussé, stamped and soldered into Federal and Victorian designs. Prints: left, _Guadalupe_, early 19th century, Mexican copperplate engraving; center, _Guadalupe_, 1847, N. Currier, hand-colored lithograph; right, _San Gregorio_ [Pope St. Gregory], mid-19th-century lithograph.] [Illustration: FIGURE 31. NICHE WITH IMAGE OF THE HOLY CHILD OF ATOCHA (_nicho_ and _El Santo Niño de Atocha_). SIZE: niche 44.4 centimeters high, image 21.6 high. DATE: Second half of 19th century. ORIGIN: New Mexico, unidentified tinsmith and _santero_. LOCATION: East _morada_, wall in chapel room. MANUFACTURE: Tin: cut, repoussé, soldered into fan, shell, and guilloche designs. Image: carved wood, gessoed and painted red and white. Rosary and artificial flowers.] These representations of religious personages are called _santos_, and their makers, _santeros_. Flat panel paintings are known locally as _retablos_, while sculptured forms are _bultos_. George Kubler, distinguished art historian at Yale, suggests that _bultos_, because of their greater dimensional realism, are more popular than planar _retablos_ with the _Hispanos_.[62] Supporting this theory is the fact that _bultos_ in the Abiquiú _moradas_ outnumber prints and _retablos_ two to one. Perhaps the most distinctive three-dimensional image in any _morada_ is not a _santo_ by definition, but a unique figure that represents death (_la muerte_). Also known as _La Doña Sebastiana_, her image clearly marks a building as a _penitente_ sanctuary. Personifying death with a sculptured image and dragging her cart to a cemetery called _calvario_, the _penitentes_ of New Mexico reflect the sense of fate common to Spanish-speaking cultures, the recognition that death is life's one personal certainty.[63] The figure of death in the east _morada_ hangs in the corner at the rear of the oratory. Placed outside for examination, this _muerte_ (Figure 32) presents a flat, oval face with blank eyes. The black gown and bow and arrow are typical of _muerte_ figures.[64] Turning toward the altar (Figure 11), one sees that death is outnumbered by images of hope and compassion: Jesus, His mother, and the saints who intercede for man. [Illustration: FIGURE 32. DEATH (_la muerte_). SIZE: 76.2 centimeters high. DATE: Early 20th century. ORIGIN: New Mexico, unidentified _santero_. LOCATION: East _morada_, back of oratory. MANUFACTURE: Carved and whitewashed wood, glass eyes and wood teeth, dressed in black fabric with white lace border, bow and arrow.]