of a heavenly element. Solomon speaks of "apples of gold in pictures of
silver." The pictures of Fra Angelico, and other artists of that age,
are really pictures of gold; and it is wonderful to see how rich the
effect, and how much delicate beauty is attained (by Fra Angelico at
least) along with it. His miniature-heads appear to me much more
successful than his larger ones. In a monkish point of view, however,
the chief value of the triptych of which I am speaking does not lie in
the pictures, for they merely serve as the framework of some relics,
which are set all round the edges of the three leaves. They consist of
little bits and fragments of bones, and of packages carefully tied up in
silk, the contents of which are signified in Gothic letters appended to
each parcel. The sacred vessels of the church are likewise kept in the
sacristy. . . . .

Re-entering the transept, our guide showed us the chapel of the Strozzi
family, which is accessible by a flight of steps from the floor of the
church. The walls of this chapel are covered with frescos by Orcagna,
representing around the altar the Last Judgment, and on one of the walls
heaven and the assembly of the blessed, and on the other, of course,
hell. I cannot speak as to the truth of the representation; but, at all
events, it was purgatory to look at it. . . . .

We next passed into the choir, which occupies the extreme end of the
church behind the great square mass of the high altar, and is surrounded
with a double row of ancient oaken seats of venerable shape and carving.
The choir is illuminated by a threefold Gothic window, full of richly
painted glass, worth all the frescos that ever stained a wall or ceiling;
but these walls, nevertheless, are adorned with frescos by Ghirlandaio,
and it is easy to see must once have made a magnificent appearance. I
really was sensible of a sad and ghostly beauty in many of the figures;