The upper church has been in danger of losing its beautiful choir, a
marvel of carving and _intarsio_, which Cavalcasella, inspector of fine
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.
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