high. Every thing about the church is marble, and all from the
same quarry; it was bequeathed to the Archbishopric for this purpose
centuries ago. So nothing but the mere workmanship costs; still that is
expensive--the bill foots up six hundred and eighty-four millions of
francs thus far (considerably over a hundred millions of dollars,) and
it is estimated that it will take a hundred and twenty years yet to
finish the cathedral. It looks complete, but is far from being so. We
saw a new statue put in its niche yesterday, alongside of one which had
been standing these four hundred years, they said. There are four
staircases leading up to the main steeple, each of which cost a hundred
thousand dollars, with the four hundred and eight statues which adorn
them. Marco Compioni was the architect who designed the wonderful
structure more than five hundred years ago, and it took him forty-six
years to work out the plan and get it ready to hand over to the
builders. He is dead now. The building was begun a little less than
five hundred years ago, and the third generation hence will not see it
completed.

The building looks best by moonlight, because the older portions of it,
being stained with age, contrast unpleasantly with the newer and whiter
portions. It seems somewhat too broad for its height, but may be
familiarity with it might dissipate this impression.

They say that the Cathedral of Milan is second only to St. Peter's at
Rome. I cannot understand how it can be second to anything made by human
hands.

We bid it good-bye, now--possibly for all time. How surely, in some
future day, when the memory of it shall have lost its vividness, shall we
half believe we have seen it in a wonderful dream, but never with waking
eyes!

CHAPTER XIX.

"Do you wis zo haut can be?"

That was what the guide asked when we were looking up at the bronze
horses on the Arch of Peace. It meant, do you wish to go up there?
I give it as a specimen of guide-English. These are the people that make
life a burthen to the tourist. Their tongues are never still. They talk
forever and forever, and that is the kind of billingsgate they use.
Inspiration itself could hardly comprehend them. If they would only show
you a masterpiece of art, or a venerable tomb, or a prison-house, or a
battle-field, hallowed by touching memories or historical reminiscences,
or grand traditions, and then step aside and hold still for ten minutes
and