arts in Italy, removed for the odd reason that it was a work of the
fourteenth century, while the church was of the thirteenth, and to be
in perfect keeping should have a stone choir. I have not learned
whether this hyper-purist will require of the congregation a
thirteenth-century costume when the church is again open for service.

These beautiful stalls, one hundred and two in number, are now placed
for safe-keeping in what was the infirmary of the adjoining college.
Possibly, when the work going on _pian piano_ in the church is
completed, they may be restored to their original place. Their sombre
richness would show well in that radiant atmosphere.

The work in the church is, however, well done, and was greatly needed,
for those precious frescoes were gradually going to decay. No touch of
pencil is allowed: the work is one of preservation merely, and is being
conducted with the greatest care. The loosened _intonaco_ is found by
tapping lightly on the wall: plaster is then slipped underneath and the
painting firmly pressed to its place. At first _gesso_ was used, but it
was found not to answer the purpose. Every smallest fragment of
painting is saved, and the blank spaces are filled in with plaster
which is painted a light gray. This freshens and throws out the
adjoining colors.

It is customary to call the lower church "devotional." With many, a
dark church is always devotional. I should rather call it sympathetic.
Every sort of mood may here find itself reflected, and the sinner be as
much at home as the saint. Anger and hate may hide as well as devotion:
the artist may dream, the weary may rest, the stupid doze. The only
objects which ever seemed to me utterly incongruous there were a brisk
company of hurried tourists, red-covered guidebook in hand, clattering