Throughout the interior there is a very remarkable love shewn everywhere for a moulding which was never used by Italians, but was so much used among ourselves--the wave-mould. Then, again, all the shafts are filleted, and the fillet turning off gradually into the round line of the shaft, produces the same moulding; a fulness and richness are consequently very noticeable in all the interior, very different indeed from anything else that I saw in Italy. The solitary blot upon this otherwise noble work is one for which its architect is in no way responsible--the cells of the groining are all filled in with painted imitations of elaborate traceries in brown colour, an abominable device, which never ceases to offend and annoy the eye more and more every time it is observed.[72] The window tracery throughout is meagre, confused, and unmeaning, and the traceries introduced at mid-height most unsatisfactory; but the glass with which it is filled, though poor and late in its character, contains much rich colour, and gives the entire building a very grand and warm tone. Compared with other foreign churches, there is in this--the largest of them all--a singular absence of side altars. There are indeed some three or four; but so great is the prominence given to the high altar in the choir, that one scarcely thinks of the possibility of the existence of any others, and has to look about a good deal before discovering where they are to be found. In common with so many of the Italian churches the pavements here are very fine, and impart no small degree of additional magnificence to the interior. Many are the works which might be catalogued in this great church, but I must content myself with noticing one only--the great bronze candelabrum. This is, I suppose, the most precious work of its kind in Europe. It was placed in the cathedral in 1557, a date too late for its execution by some three hundred years. The supports are four winged dragons, heads downwards, and with tails intertwined. The shaft has bosses in the centre, and branches out above into a profusion of branches full of exquisite leafage. This is all conventional in character, and entirely like thirteenth-century work. In spaces formed for the purpose and on the bosses are various figures and subjects all wrought with singular skill, and a lavish profusion of ingenuity which cannot be too much admired. Among these are the Temptation and the Expulsion from Paradise, the signs of the zodiac, figures illustrating architecture and music, and a variety of others.