We return, yet once again, on the following day. Worshippers and objects of worship, the sickly crowd and gilded angels, all are gone; and there far in the apse, is seen the sad Madonna standing in her folded robe, lifting her hands in vanity of blessing. There is little else to draw away our thoughts from the solitary image. An old wooden tablet, carved into a rude effigy of San Donato, which occupies the central niche in the lower part of the tribune, has an interest of its own, but is unconnected with the history of the older church. The faded frescoes of saints, which cover the upper tier of the wall of the apse, are also of comparatively recent date, much more the piece of Renaissance workmanship, shaft and entablature, above the altar, which has been thrust into the midst of all, and has cut away part of the feet of the Madonna. Nothing remains of the original structure but the semi-dome itself, the cornice whence it springs, which is the same as that used on the exterior of the church, and the border and face-arch which surround it. The ground of the dome is of gold, unbroken except by the upright Madonna, and usual inscription, M R [symbol] V. The figure wears a robe of blue, deeply fringed with gold, which seems to be gathered on the head and thrown back on the shoulders, crossing the breast, and falling in many folds to the ground. The under robe, shown beneath it where it opens at the breast, is of the same colour; the whole, except the deep gold fringe, being simply the dress of the women of the time. Le donne, anco elle del 1100, vestivano _di turchino con manti in spalla_, che le coprivano dinanzi e di dietro.[3] Round the dome there is a colored mosaic border; and on the edge of its arch, legible by the whole congregation, this inscription: “Quos Eva contrivit, pia Virgo Maria redemit; Hanc cuncti laudent, qui Christi munere gaudent.”[4] The whole edifice is, therefore, simply a temple to the Virgin: to her is ascribed the fact of Redemption, and to her its praise.