bject forming of course the principal decoration.
At Florence there is a church--one of the most splendid and
interesting of its many beautiful edifices--dedicated to the
Annunciation, or rather to the Virgin in her especial character and
dignity, as the Instrument of the Incarnation, and thence styled
the church _della Santissima Nunziata_. The fine mosaic of the
Annunciation by Ghirlandajo is placed over the principal entrance. Of
this church, and of the order of the Servi, to whom it belongs, I have
already spoken at length. Here, in the first chapel on the left, as
we enter, is to be found the miraculous picture of the Annunciation,
formerly held in such veneration, not merely by all Florence, but
all Christendom:--found, but not seen--for it is still concealed from
profane eyes, and exhibited to the devout only on great occasions. The
name of the painter is disputed; but, according to tradition, it is
the work of a certain Bartolomeo; who, while he sat meditating on the
various excellences and perfections of our Lady, and most especially
on her divine beauty, and thinking, with humility, how inadequate were
his own powers to represent her worthily, fell asleep; and on awaking,
found the head of the Virgin had been wondrously completed, either by
the hand of an angel, or by that of St. Luke, who had descended from
heaven on purpose. Though this curious relic has been frequently
restored, no one has presumed to touch the features of the Virgin,
which are, I am told--for I have never been blessed with a sight
of the original picture--marvellously sweet and beautiful. It is
concealed by a veil, on which is painted a fine head of the Redeemer,
by Andrea del Sarto; and forty-two lamps of silver burn continually
round it. There is a copy in the Pitti Palace, by Carlo Dolce.

It is evident that the Annunciation, as a mystery, admits of a style
of treatment which would not be allowable in the representation of
an event. In the former case, the artist is emancipated from all
considerations of locality or circumstance. Whether the background
be of gold, or of blue, or star-bespangled sky,--a mere curtain, or a
temple of gorgeous architecture; whether the accessories be the most
simple or the most elaborate, the most real or the most ideal; all
this is of little moment, and might be left to the imagination of the
artist, or might be modified according to the conditions imposed by
the purpose of the representation and the mater