To enter more into detail, the plan is a Latin Cross, terminated by an apse, and divided into a nave and four aisles. The interior is 477 feet in length, by 183 in breadth, exclusive of the transepts, and is supported by fifty-two pillars, which are eighty feet in height and twelve feet in diameter. The before-mentioned niches, which crown the pillars, are a great feature, each niche being of different design, and all remarkably beautiful. The roof is elaborately painted in imitation (so it is said) of tracery. Street calls this an “abominable device, which never ceases to offend and annoy the eye more and more every time it is observed.” The effect did not seem to No. 1 at all disagreeable; quite the contrary. He thought it added great beauty and richness to the design, and does not believe that it was ever intended to deceive the beholder into the idea that it is real tracery. “Why not believe it to be mere decorative painting, and beautiful art as such?” he asked. But No. 2 was really deceived into believing that the imitation of tracery was actually what it represented, particularly as the design, which is in dark-brown colouring upon a light ceiling, represents carvings of beautiful patterns and filigree work, very much like the Gothic screens of some of our English cathedrals, only fixed upon the ceiling instead of being on the line of sight. But when, after investigation, he found the paint obliterated here and there by damp and other causes, showing blotches of brown and white, he was disgusted beyond measure, and began to look upon other work with suspicion. “Why,” cried he, “should a Christian church impose on the unwary, or to the wary preach affectation and artifice?” There is no triforium, and the pavement is a mosaic of various coloured marbles. There is a great quantity of old stained glass in the windows, which, though not equal to our old English glass, yet gives the building a very religious effect, which is still more enhanced by the colour of the stonework, which has the appearance of old ivory. The interior is well filled with ancient monuments; but we have no space to describe them, and will simply add that the most remarkable are those of Gian Giacomo and Gabriele de Medici, attributed to Michael Angelo; of Cardinal Caracciolo, in black marble, by Bambaja; and of Ottone Visconti, Archbishop of Milan, which is earlier in date than any portion of the cathedral. In the north transept is the bronze candelabrum for holding seven lamps, constructed in imitation of that which existed in the Holy Temple of Jerusalem—a magnificent work erected in the thirteenth century. And in the south transept is a famous statue of St. Bartholomew being flayed alive. St. Charles Borromeo, the great Archbishop of Milan, is buried below the dome in a subterranean chapel. It may interest our girls to know that he was the originator of Sunday-schools in Europe.