column is decked with flags and pennons. The aisles and transepts
blaze with gorgeous hangings. Overhead saints, prophets, and martyrs,
standing immovable in the tinted glories of the stained windows,
fling broad patches of purple, emerald, and yellow, upon the intaglio
pavement.

Along the nave (a hedge, as it were, on either side) are hung curtains
of cloth of gold.

The high altar, inclosed by a balustrade of colored marble raised
on steps richly carpeted, glitters with gemmed chalices and crosses.
Behind, countless wax-lights illuminate the rich frescoes of the
tribune. The Chapel of the Holy Countenance (midway up the nave),
inclosed by a gilded net-work, is a dazzling mountain of light flung
from a thousand golden sconces. A black figure as large as life rests
upon the altar. It is stretched upon a cross. The eyes are white
and glassy; the thorn-crowned head leans on one side. The body
is enveloped in a damascened robe spangled with jewels. This robe
descends to the feet, which are cased in shoes of solid gold. The
right foot rests on a sacramental cup glittering with gems. On either
side are angels, with arms extended. One holds a massive sceptre, the
other the silver keys of the city of Lucca.

All waits. The bride, glorious in her garment of needle-work, waits.
The bridegroom waits. The sacramental banquet is spread; the guests
are bidden. All waits the moment when the multitude, already buzzing
without at the western entrance, shall spread themselves over
the mosaic floor, and throng each chapel, altar, gallery, and
transept--when anthems of praise shall peal from the double doors of
the painted organ, and holy rites give a mystic language to the sacred