Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Altars and Incense (1860)

Around their lofty cornices hover flights of sculptured angels; and within the vault of the ceiling and the swelling interior of the dome, there are frescos of such brilliancy, and wrought with so artful a perspective, that the sky, peopled with sainted forms, appears to be opened only a little way above the spectator. Then there are chapels, opening from the side aisles and transepts, decorated by princes for their own burial places, and as shrines for their especial saints. In these, the splendor of the entire edifice is intensified and gathered to a focus.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Altars and Incense (1860)

Hilda saw peasants, citizens, soldiers, nobles, women with bare heads, ladies in their silks, entering the churches individually, kneeling for moments or for hours, and directing their inaudible devotions to the shrine of some saint of their own choice. In his hallowed person, they felt themselves possessed of an own friend in heaven. They were too humble to approach the Deity directly.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Altars and Incense (1860)

Seeing a woman; a priest, and a soldier kneel to kiss the toe of the brazen St. Peter, who protrudes it beyond his pedestal for the purpose, polished bright with former salutations, while a child stood on tiptoe to do the same, the glory of the church was darkened before Hilda's eyes. But again she went onward into remoter regions. She turned into the right transept, and thence found her way to a shrine, in the extreme corner of the edifice, which is adorned with a mosaic copy of Guido's beautiful Archangel, treading on the prostrate fiend.
Source: Wikisource

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