A visit to Milan had always been looked forward to by me with great interest: first, from curiosity as to the real effect and merits of the Duomo; and, secondly, from a longing [Illustration: 59. PIAZZA DEI MERCANTI. MILAN p. 329.] to see the magnificent Sposalizio of Raffaelle, which is the gem of the collection in the Brera; and this famous gallery was therefore one of the first objects of my curiosity. The careful examination of the pictures which adorn its walls was, however, when we were there, much hindered by an exhibition of modern Italian pictures, hung in the same rooms as, and in most cases in front of, the old works. We were able, fortunately, to get a fair view of what I believe to be not far from the greatest work of one of the greatest painters in the world--the Sposalizio being in a room unoccupied by other pictures and unmolested by the modern exhibitors. The man who could so paint at the age of twenty-one must, assuredly, have been almost matchless, for never have I seen a painting more thoroughly noble and delightful, in every way recalling to mind, it is true, in every figure the manner of his master, the great Perugino, but not the less enjoyable on that account. The modern pictures were almost invariably worthless, and shewed no sign of any revival parallel to that which I trust I am not too sanguine in believing that one sees at the present day in England. In the Piazza dei Mercanti is a much-altered building of the thirteenth century (its date is said to be 1228), which looks in its arrangements like a Palazzo Publico, and which in its original state must have been very charming. On the lower stage are five open arches, which have been modernized, I believe; above this a line of square panels, inclosing shields, forms a bold string-course, the central portion being brought forward on corbels for a Ringhiera. The _piano nobile_ consists of five pointed arches carried on delicate shafts, and above was a deeply sunk line of arcading, each division garnished with a statue. There was once evidently a canopy over the Ringhiera. The materials of this front are black and white stone, but they are used with such moderation that there is nothing at all bizarre in the general effect of the façade. In addition to these buildings there is still to be described another very grand brick domestic building of late date--the Ospidale Maggiore--which contains a great deal of very rich detail, half Renaissance and half Gothic in its character, though the general scheme of the building is wholly Renaissance. This building has been much extolled, but I think those who have praised it so much have mistaken clever manipulation of detail for good architectural design. The terra-cotta enrichments with which it is so richly set are hardly surpassed in their way by any of the same period in Italy, but I cannot admire the building as a whole.