Visconti, Duke of Milan. It was first under the superintendence of the German architect, Gamodia, or Zamodia, but remained unfinished during several centuries. The doom and pinnacle are said to have been constructed by Omodeo, the central column and the spire by Brunelleschi. The most eminent artists, amongst others, Leonardo da Vinci and Giulio Romano, were employed in this great work during the first half of the sixteenth century. According to other antiquarians, the name of the original architect has not been ascertained with any degree of certainty; appearances, however, would seem to warrant the supposition that he borrowed some of his ideas from the celebrated Cathedral of Cologne.

The effect of this building is imposing in the highest degree; unfortunately, the confined space around it does not allow it to be seen to full advantage. The dimensions of the cathedral, which is built of white marble from the quarries of Candoja, are four hundred and forty-five feet in length, and two hundred and seventy feet in breadth; the cupola is two hundred and thirty-two feet high.

The interior is extremely beautiful. It is divided into five naves, and supported by one hundred and sixty pillars; in richness of ornament and in the number of statues, exceeding four thousand within and without the cathedral, it is unrivalled. The exterior has not escaped the severe criticism of connoisseurs, and it cannot be denied that it exhibits many incongruities of style. This must be attributed to the length of time during which this cathedral was left unfinished, and to the ambitious thirst for novelty in some of the more recent architects, who had not the good taste or self-denial to assimilate the additions to the original plan. In the year 1567, the architect Pellegrini, who was employed by the Cardinal Charles Borromeo, introduced the peculiarities of Grecian architecture into this Gothic building. His successors returned to the imitation of the Gothic, but not always with great success. The front is by Amati. The western end of the church displays many of these incongruities, but is greatly admired for the peculiar beauties of single parts. The numerous alt-reliefs and statues of this portal deserve a more attentive study, as do likewise the sculptured pinnacles and the figures standing on them.

Napoleon, who contributed much to the completion of this splendid edifice, was crowned here. He would not allow the archbishop to place the crown on his head, but, seizing it in his own hands, crowned himself; the haughty conqueror exclaimed, "Dio me la diede, quai à chi lu tocca!” "God gave it to me: woe to him that touches it!" These words now form the motto of the order of the Iron Crown.

To have a clear view of the whole extent of the building, the visitor should not neglect to ascend the roof, which is likewise faced with marble. Seen in the moon. light, the effect of this immense mass of marble (one of the emperors somewhat depreciatingly called it "a mountain of marble") is singularly beautiful. In the

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