A certain quaint uncouthness should not blind us to Orcagna's wealth of expressive detail. Thus, "in the sensitive cast of the Mother's countenance, and in the refined pose of her figure, there is a rare degree of eloquence, such as silently bespeaks a modesty which would shun, a humility which would disallow, any sort of self-adornment. Her Lord, to whose will she submits herself, is no less monumental in dignity of combined power and tenderness. And in the celestial band below, in the maidens that play and sing at the Mother's feet, despite their quaint little almond eyes, there is a _naïveté_ of expression, a simplicity and animation unequalled at so early a date. In particular she who, singing behind the harpist, generously spends her soul in impassioned songs, while others, agreeable to nature's truth, are singing regardless of their song, interested only in what is around. Again, in that dual company of holy men and women sitting about the throne, reverence stills every feature, and a saintly singleness of purpose keeps each eye as they look in loving adoration on Him whose dying bought their soul's salvation, or as they lean towards Her whose human heart petitioned them to Paradise" (A. H. Macmurdo in _Century Guild Hobby Horse_, ii. 34). In the _Hobby Horse_ (a different publication, No. 1, 1893), a musical expert calls attention to the instruments shown by Orcagna. Thus "in the central compartment note the portative organ, at that time in familiar use, with its gimlet-shaped keys all of one light colour, and apparently, even in that early date, chromatic in disposition. Five large drone pipes may be recognised, from their being out of scale with the melody pipes. The second instrument in the angelic band is the mediæval harp, the comb holding the wrest, or tuning, pins being held here in an animal's mouth. A third angel is furnished with a cither, also a favourite mediæval instrument. It is ornamented in ebony and ivory, and has a plectrum guard inserted in the belly, as in a modern mandoline. The fourth angel has a viol of a clumsy form; it took another 200 years to arrive at the graceful outline of the violin. The fifth has a psaltery. One angel has a bagpipe; the chaunter or melody pipe has eight holes, the same number the highland bagpipe has now." Variations of these instruments may be noted in the subordinate pictures (A. J. Hipkins). An expert in another art calls attention to the beauty of the patterns on the dresses of the central figures, on the ground upon which the angels kneel and stand, and also on the stuff hung at the back of the throne (Sydney Vacher: _Italian Ornaments from brocades and stuffs found in pictures in the National Gallery_). 570-2. THE TRINITY, WITH ANGELS ADORING. _Orcagna_ (part of the altar-piece, 569).