A few only of the most noticeable points, therefore, shall be touched; and, as it seems to me to teach less of Italian art or architecture than of Northern, I shall feel myself acquitted of neglect, inasmuch as the main, if not the sole, object of my Italian notes is as to the development of really Italian work. I was struck at first by the prodigious width and height of the building. The nave is enormously wide, and has two aisles on either side, those next to it being also of great size and height, and having clerestories in their outer walls. The outer aisles are lighted with large traceried windows, filled with stained glass, which gives the church a character very unlike that of the generality of Italian Gothic churches, in which coloured glass is so rarely seen in large masses. There is, therefore, a regular gradation in the heights of the five main divisions of the church, which are well proportioned to their respective widths; and, resting as these divisions do upon four rows of clustered columns of immense size and height, a more magnificent internal effect is produced than I can recollect even any approach to in any other church; for not even in Köln or in Amiens is there any effect so magnificent as that of this forest of prodigious piers. They are finished at the top with capitals peculiar to this building, and quite unlike anything I have before seen--I suppose at least twelve feet deep, with a kind of arcade of tracery surmounted by a crocketed gable on each side, and finished above and below with courses of foliage, and with figures standing in the niche-like panels of the arcade. Such a contrivance would be clumsy and absurd if attempted on a small scale, but here, at the summit of these immense columns, it is thoroughly successful, and, I believe, the only contrivance which could have been successfully adopted. The capitals vary very much in detail and in merit; but one of the finest is seen close to the west entrance, and recalls forcibly the best Northern pointed work, having indeed, neither in detail nor in design, one single trace of an Italian influence. So grand are the columns that the excessive poverty and lightness of the arches which divide the nave from the aisles, which is perhaps the greatest defect of the interior of the church, is not for a long time noticed; they have, however, but little apparent work to do, and so their lightness may perhaps be a virtue.