Milan, as we know it now, is the centre of commercial Italy. Intersected by an excellent system of tramways, with beautiful public gardens and magnificent buildings, it is up to date in every way and stands quite apart from all the other cities with which this book is concerned. The one thing that, perhaps, above all others places it in this position is, however, no product of this commercial age, but its world-famous work of art, the great cathedral, through the lofty aisles of which still reverberates the grand music of the Ambrosian Ritual. The exterior of this immense church, next in Italy to St. Peter's in size, is adorned by a forest of spires, pinnacles, turrets and lace-like tracery. In the midst of all this rises the central tower with its airy spire, from the base of which on a clear day the snow-clad peaks of the Alps may be seen stretching miles on miles away, and bounding the whole of the northern horizon by a lovely dreamland of colour.
Very few buildings compel one's admiration as this does, an admiration wrung in my case from a mind out of sympathy with everything that lacks the dignity of repose; but such is the effect obtained by hundreds of pinnacles and statues, by the turreted flying buttresses, by the filling of every available foot of space with ornament, that one cannot but appreciate the result of the skill and patience so truly Italian, which has carried out these infinite details and produced the great work that stands in the Piazza del Duomo. The present fabric, dedicated "Mariæ Nascenti," is the third cathedral built on the site: the first was destroyed by Attila in 452, and the second by Barbarossa in 1162. The foundation-stone was laid in 1387 by Gian' Galeazzo Visconti, who from a northern clime sought his architect, Heinrich Ahrler, of Gmünden. From that time down to the present day many have had a hand in its making, among them Bramante, Leonardo da Vinci, and Giulio Romano, and the wonder is that the great structure is not far more full of incongruities than it is. The whole exterior is built of white marble from the quarries of la Gandoglia on the Simplon Road, given by the founder for this purpose.
The façade rises with a course of open Gothic work to the gable above, and is divided into five sections which terminate in clusters of Gothic turrets surmounted by pinnacles and statues. The central doorway is surrounded by excellent Renaissance sculpture, the door itself being a magnificent piece of seventeenth-century bronze work. On each side are two more portals. The bases of the intervening buttresses contain splendid panels, and the Caryatides, which support the slender Gothic shafts right and left, by Rusca and Carabelli, are extremely good in pose and execution. The great façade designed by Pellegrini for S. Carlo Borromeo in 1560 was never carried out owing to the saint's death while Pellegrini was away in Spain working on the Escorial for Philip II. The east end is the oldest part of the building, and is almost entirely taken up by three grand Gothic windows. The east window, which is of most beautiful tracery, was executed from the designs of a Frenchman, Nicholas Bonaventure. Both the other windows are fine, but the upper portion or rose pattern, although in itself very delicate, appears "stuck in," and not part of the design; some of the glass in these is very rich in colour. The archivolts of the arches are filled with figures which follow the curve in a rather uncomfortable style, not only here but in every other window save the fine classical of the façade.