s are sprinkled from end to end with shovel-hatted,
long-robed, well-fed priests, and the church bells by dozens are pealing
all the day long, nearly. Every now and then one comes across a friar of
orders gray, with shaven head, long, coarse robe, rope girdle and beads,
and with feet cased in sandals or entirely bare. These worthies suffer
in the flesh and do penance all their lives, I suppose, but they look
like consummate famine-breeders. They are all fat and serene.

The old Cathedral of San Lorenzo is about as notable a building as we
have found in Genoa. It is vast, and has colonnades of noble pillars,
and a great organ, and the customary pomp of gilded moldings, pictures,
frescoed ceilings, and so forth. I cannot describe it, of course--it
would require a good many pages to do that. But it is a curious place.
They said that half of it--from the front door halfway down to the altar
--was a Jewish synagogue before the Saviour was born, and that no
alteration had been made in it since that time. We doubted the
statement, but did it reluctantly. We would much rather have believed
it. The place looked in too perfect repair to be so ancient.

The main point of interest about the cathedral is the little Chapel of
St. John the Baptist. They only allow women to enter it on one day in
the year, on account of the animosity they still cherish against the sex
because of the murder of the Saint to gratify a caprice of Herodias. In
this Chapel is a marble chest, in which, they told us, were the ashes of
St. John; and around it was wound a chain, which, they said, had confined
him when he was in prison. We did not desire to disbelieve these
statements, and yet we could not feel certain that they were correct
--partly because we could have broken that chain, and so could St. John,
and partly because we had seen St. John's ashes before, in another
church. We could not bring ourselves to think St. John had two sets of
ashes.

They also showed us a portrait of the Madonna which was painted by St.
Luke, and it did not look half as old and smoky as some of the pictures
by Rubens. We could not help admiring the Apostle's modesty in never
once mentioning in his writings that he could paint.

But isn't this relic matter a little overdone? We find a piece of the
true cross in every old church we go into, and some of the nails that
held it together. I would not like to be positive, but I think we have
seen as much as a ke