follower of Michaelangelo, whose neo-classic predilections were in utter disaccord with the spirit of the building, was set to work to re-garnish its devastated spaces. [Illustration: WITHIN THE DUOMO.] There are no paintings of account in the church. The few pictures belong to the same period as the altars, designed by il Pellegrini, over which they hang. The original Gothic design did not admit of frescoes on the walls. The necessary colour is given by the windows. In many of these the glass is modern, but some very fine fifteenth and sixteenth century glass still survives. It has not the supreme beauty of very early glass; the designs are pictorial, but the colour is gorgeously rich and deep, and in the earlier ones the subjects are treated with due regard for decorative effect. A few things of interest may indeed be found in the vast spaces of the nave and ambulatory. Low down against the north wall is the rude granite tomb of Archbishop Ariberto, eleventh century, brought hither in 1783 from the suppressed Church of St. Dionysius. The ancient crucifix of Byzantine style above it, upon the foot of which is a relief of Ariberto holding a model of St. Calimero, a church restored by him, is said, but without foundation, to be the crucifix which used to be carried into battle on the Caroccio. Beneath a window further up stands a sarcophagus, raised upon columns of Verona marble; in it are the bones of the two Visconte Archbishops, Otto, Lord of Milan in the thirteenth century, and his great grand-nephew Giovanni, who ruled See and city in the first half of the fourteenth, and who elected to be laid with his great predecessor when he died. The recumbent statue of Giovanni on the top is probably by a Campionese master. This monument, which had once an honourable place in the apse, is the only memorial in the church of the great family which founded it. Higher up is the Gothic tomb of Marco Caselli, a merchant who died in 1394, and gave his large fortune to the building of the Cathedral. The tomb was designed by Filippino da Modena, but the recumbent statue and the figures of Evangelists and Fathers on the front and sides are by another hand, a Venetian or a Lombard influenced by the Venetian school.[4] We come next to a refined little sixteenth century monument to Giovanni Antonio Vimercati, by Agostino Busti, il Bambaia. Three altars designed by il Pellegrini follow. Over the last there is a bas-relief of Madonna with SS. Catherine and Paul, a poor and primitive work by one Jacomolo di Antonio (1495), recently placed here. Footnote 4: Malaguzzi Valeri, _Milano_, vol. i. p. 73.