could not see it there.

There were worshippers at some of the shrines, and persons sitting here
and there along the nave, and in the aisles, rapt in devotional thought,
doubtless, and sheltering themselves here from the white sunshine of the
piazzas. In the vicinity of the choir and the high altar, workmen were
busy repairing the church, or perhaps only making arrangements for
celebrating the great festival of St. John.

On the left hand of the choir is what is called the old sacristy, with
the peculiarities or notabilities of which I am not acquainted. On the
right hand is the new sacristy, otherwise called the Capella dei
Depositi, or Chapel of the Buried, built by Michael Angelo, to contain
two monuments of the Medici family. The interior is of somewhat severe
and classic architecture, the walls and pilasters being of dark stone,
and surmounted by a dome, beneath which is a row of windows, quite round
the building, throwing their light down far beneath, upon niches of white
marble. These niches are ranged entirely around the chapel, and might
have sufficed to contain more than all the Medici monuments that the
world would ever care to have. Only two of these niches are filled,
however. In one of them sits Giuliano de' Medici, sculptured by Michael
Angelo,--a figure of dignity, which would perhaps be very striking in any
other presence than that of the statue which occupies the corresponding
niche. At the feet of Giuliano recline two allegorical statues, Day and
Night, whose meaning there I do not know, and perhaps Michael Angelo knew
as little. As the great sculptor's statues are apt to do, they fling
their limbs abroad with adventurous freedom. Below the corresponding
niche, on the opposite side of the chapel, recline two similar statues,
representing Morning and Evening, sufficiently like Day and Night to be
their brother and sister; all, in truth, having sprung from the same