THERE is a navigable canal from Milan to Pavia, which was begun in 1807, but is only just finished. From the Gate of Milan to the Ticino at Pavia, it descends 182 feet, 8 inches; there are thirteen locks, the whole descent of which is 167 feet, 8 inches; leaving for the descent of the canal, fifteen English feet. The length is 107,350 feet, the breadth 42½ feet. At first it forms a considerable stream; but is continually giving off part of its waters for the purposes of irrigation, and becomes very sluggish on its arrival at Pavia.
My first object was the Duomo. There is a fragment of ancient Lombard architecture on the outside, not now belonging to the church. The present edifice was begun in 1488, on a magnificent scale. A spacious octagon occupies the centre, and a nave and side aisles, extending in each direction, were to have formed the cross; the side aisles opening into the oblique sides of the octagon, which are smaller than the others. I sought in vain for the sarcophagus of Boetius, and for that of St. Augustin.
The church of the Carmine is much more interesting than the cathedral. It dates in 1373, is of the pointed Lombard style, with intersecting ornamental arches in the cornice, and the front is the most elaborate example I have seen of the sort. It is also a very fine specimen of brick-work; on which account also the pillars of the inside deserve notice. Three squares form the nave, each of which is covered by a simple groin, but opens by two small arches into the side aisles, and has a very small circular window above. The beautiful brick-work has been hacked, to retain a coat of stucco or whitewash. The walls and vaults are also of brick-work, but of very different quality. These were evidently intended to be covered. The upper capitals are of stone, ornamented with detached leaves; the lower are of brick, cut into escutcheon faces. I suppose you will laugh at me unmercifully, if I were to propose to ornament such an edifice with gilding; but in fact it would harmonize beautifully with the rich brown of the brick, whose dark colour wants something to relieve it.
The front of S. Francesco is in the same style, and of the same material: there is a series of round-headed arches below, which displeases me; but the upper part, with one large central arch, surrounded by a number of plain and enriched bands, is finely composed. There are seven pinnacles in front of the Carmine, five on that of S. Francesco, but though well contrived in themselves, they do not, in either case, unite well with the building. The inside has been modernized; and done badly, as is usually the case, because those who wish to modernize, are precisely such as despise the old style, and would scorn to enter into the feeling it produces: perhaps indeed I might say, they are such as stop short at the rules, and totally neglect the poetry of the art.