The interior is very large and simple--the architectural detail generally very poor. Columns (large cylinders with exaggerated capitals of queer semi-classic detail) carrying alternated arches, show the characteristic faults of the Pisan school of architects. The clerestory has long, simple, traceried windows, and the best detail is in the east window, which has good geometrical tracery, is of very long proportion, and is filled with stained glass of beautiful design--subjects in square panels. The effect of its colour is perfect. All round it are paintings by Agnolino of Orvieto, not very fresh now, but giving a colour of the most tender kind to the interior, to which the simple black and white striped construction of the columns and walls leads the eye up gradually and well. In the east window the glass is divided into small panels. There are four lights but in spite of the irregularity caused by this even number the grounds of the subjects are all countercharged, alternately ruby and blue.... _What Street said, and what he thought, of Siena and Orvieto, is nearly unique. At Viterbo and Toscanella, he could only see and feel the first what others have since made familiar. Corneto is less known._ _March 4._ Looking back to Viterbo I saw it lighted up with beautiful effect by a sudden burst of sunshine. Its towered walls were in deep shade whilst a cloud of light, wind-started from the town behind, caught the bright sunshine and seemed to set the steeples of the town in a sort of halo. Behind rose the high mountain and to the left of this, in the far distance, a line of snow-capped mountains which added immensely to the beauty of the view. This open country is very charming--clouds casting their shadows here and there and a horizon always lovely in the pure colour of the mountains or hills which fringe it. All the way we had Montefiascone in full view. Corneto stands on a steep hill above the marshy flat which borders the Mediterranean. Its old walls and towers standing generally on a rocky base give it a very imposing appearance, but its interest seems to be mainly Etruscan. The inn at which we stopped made amends for any lack in the churches by its extremely good character. It is of late fourteenth century work, but the internal courtyard with its open arcades on two sides is most beautiful. The front towards the street shows in some of its detail and especially in the construction of the masonry in its upper portion, the influence of the Renaissance. The building formed originally three sides of a quadrangle with a passage-way corbelled out on the wall which forms the fourth side. The lower storeys have fine open arcades, and the third a series of delicate shafts with very effective capitals oblong in plan, carrying a white marble lintel under the wall plate. The whole scheme is one of extreme beauty and has much of the effect of being earlier in date than it really is....