one of the panels, one of which was afterward found broken, the robber leaving no trace of the precious parchment. The panel, "Giving Drink to the Thirsty," was repaired, but not like the others. We can see for ourselves that it is only painted stucco and of later date. This was a story to stir youthful imagination to the highest pitch: a mystery, a secret, a theft--the very stuff that dreams are made of. Italy is full of traditions; even the origin of this self-same hospital is a pretty story, as told by a worthy canon of the cathedral, and who would wish to question it? "The Church of Santa Maria del Ceppo (meaning a dry root) was built near the little stream Brana about 1277, by the pious Theodore and his wife Bandinella, who dedicated it to the Assumption, and placed therein an alms-box for the benefit of the sick and poor. This chest increased little by little, until it became the present hospital. The _chiesetta_ (little church) was incorporated in the large building." Time and the schools have taught us the meretricious value of traditions, but even stripped of all glamour the Della Robbia frieze is unique as an architectural feature, and peculiarly appropriate to the building it adorns. It consists of seven panels, representing the temporal works of mercy as performed by the good brothers of the hospital; between them are figures representing the Virtues: Faith, Hope, Charity, Prudence, and Justice; below appear medallions of the arms of the city, of the hospital (the sprouting root), and the Medici shield; also the Annunciation, Visitation, and Assumption. Of all the panels, the "Sheltering of the Pilgrims," and the "Healing of the Sick," are considered the finest; the figures of the brothers in both have evidently been studied from life, especially that of the physician. More beautiful, however, than any part of the frieze is Benedetto Buglioni's "Coronation of the Virgin," a lunette over the chapel door of excellent workmanship, and in simple colours, white on blue, with crowns of pale yellow. In its modelling and glaze, its seriousness and grace, it almost rivals Luca della Robbia's masterpiece in Pistoja, "The Visitation," in the Church of St. John the Evangelist. If there is a moment to spare we may well slip round the corner for a peep at the Church and Convent of Santa Maria delle Grazie, where a calm-faced sister--one of the good Bandinella's descendants, wearing the pretty wimpled cap of white muslin, designed, it is said, by some tasteful lady of the Medici family--will show us their perfect little Renaissance church and its great treasure, the Lorenzo di Credi Madonna, and also insist gently upon a visit to the Miraculous Bed where once the Madonna reposed. They will further offer to exhibit their store of fine vestments and robes, well worth looking at; but if once we begin looking at churches and vestments there will be no getting back to Florence for a week. But at least we must take