Page:Life in Mexico vol 2.djvu/314

294 But first, under the direction of the celebrated sculptor Tolsa, a new altar was erected for the image. His first care was to collect the most beautiful marbles of the country for this purpose—the black he brought from Puebla, and the white, gray and rose-colored from the quarries of San José Vizarron. He also began to work at the bronze ornaments, but from the immense sums of money necessary to its execution, The work was delayed for nearly twenty years. Then, in 1826, it was recommenced with fresh vigor. The image was removed, meanwhile, to the neighboring convent of the Capuchinas, and the same year the altar was concluded, and the Virgin brought back in solemn procession, in the midst of an innumerable multitude. This great altar, which cost from three to four hundred thousand dollars, is a concave hexagonal, in the midst of which rise two white marble pillars, and on each side two columns of rose-colored marble, of the composite order, which support the arch. Between these are two pedestals, on which are the images of San Joaquin, and Santa Anna, and two niches, containing San José and St. John the Baptist. Above the cornices are three other pedestals, supporting the three Saints, Michael, Gabriel, and Raphael; and above St. Michael, in the midst of cherub and seraphim, is a representation of the Eternal Father. The space between the upper part of the Altar and the roof, is covered with a painted crimson curtain, held by saints and angels. The tabernacle, in the centre of the altar, is of rose-colored marble, in