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    Chapter 18

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    Chapter 19
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    All day long we sped through a mountainous country whose peaks were
    bright with sunshine, whose hillsides were dotted with pretty villas
    sitting in the midst of gardens and shrubbery, and whose deep ravines
    were cool and shady and looked ever so inviting from where we and the
    birds were winging our flight through the sultry upper air.

    We had plenty of chilly tunnels wherein to check our perspiration,
    though. We timed one of them. We were twenty minutes passing through
    it, going at the rate of thirty to thirty-five miles an hour.

    Beyond Alessandria we passed the battle-field of Marengo.

    Toward dusk we drew near Milan and caught glimpses of the city and the
    blue mountain peaks beyond. But we were not caring for these things
    --they did not interest us in the least. We were in a fever of impatience;
    we were dying to see the renowned cathedral! We watched--in this
    direction and that--all around--everywhere. We needed no one to point it
    out--we did not wish any one to point it out--we would recognize it even
    in the desert of the great Sahara.

    At last, a forest of graceful needles, shimmering in the amber sunlight,
    rose slowly above the pygmy housetops, as one sometimes sees, in the far
    horizon, a gilded and pinnacled mass of cloud lift itself above the waste
    of waves, at sea,--the Cathedral! We knew it in a moment.

    Half of that night, and all of the next day, this architectural autocrat
    was our sole object of interest.

    What a wonder it is! So grand, so solemn, so vast! And yet so delicate,
    so airy, so graceful! A very world of solid weight, and yet it seems in
    the soft moonlight only a fairy delusion of frost-work that might vanish
    with a breath! How sharply its pinnacled angles and its wilderness of
    spires were cut against the sky, and how richly their shadows fell upon
    its snowy roof! It was a vision!--a miracle!--an anthem sung in stone, a
    poem wrought in marble!

    Howsoever you look at the great cathedral, it is noble, it is beautiful!
    Wherever you stand in Milan or within seven miles of Milan, it is visible
    and when it is visible, no other object can chain your whole attention.
    Leave your eyes unfettered by your will but a single instant and they
    will surely turn to seek it. It is the first thing you look for when you
    rise in the morning, and the last your lingering gaze rests upon at
    night. Surely it must be the princeliest creation that ever brain of man

    At nine o'clock in the morning we went and stood before this marble
    colossus. The central one of its five great doors is bordered with a
    bas-relief of birds and fruits and beasts and insects, which have been so
    ingeniously carved out of the marble that they seem like living
    creatures--and the figures are so numerous and the design so complex that
    one might study it a week without exhausting its interest. On the great
    steeple--surmounting the myriad of spires--inside of the spires--over the
    doors, the windows--in nooks and corners--every where that a niche or a
    perch can be found about the enormous building, from summit to base,
    there is a marble statue, and every statue is a study in itself!
    Raphael, Angelo, Canova--giants like these gave birth to the designs, and
    their own pupils carved them. Every face is eloquent with expression,
    and every attitude is full of grace. Away above, on the lofty roof, rank
    on rank of carved and fretted spires spring high in the air, and through
    their rich tracery one sees the sky beyond. In their midst the central
    steeple towers proudly up like the mainmast of some great Indiaman among
    a fleet of coasters.

    We wished to go aloft. The sacristan showed us a marble stairway (of
    course it was marble, and of the purest and whitest--there is no other
    stone, no brick, no wood, among its building materials) and told us to go
    up one hundred and eighty-two steps and stop till he came. It was not
    necessary to say stop--we should have done that any how. We were tired
    by the time we got there. This was the roof. Here, springing from its
    broad marble flagstones, were the long files of spires, looking very tall
    close at hand, but diminishing in the distance like the pipes of an
    organ. We could see now that the statue on the top of each was the size
    of a large man, though they all looked like dolls from the street. We
    could see, also, that from the inside of each and every one of these
    hollow spires, from sixteen to thirty-one beautiful marble statues looked
    out upon the world below.

    From the eaves to the comb of the roof stretched in endless succession
    great curved marble beams, like the fore-and-aft braces of a steamboat,
    and along each beam from end to end stood up a row of richly carved
    flowers and fruits--each separate and distinct in kind, and over 15,000
    species represented. At a little distance these rows seem to close
    together like the ties of a railroad track, and then the mingling
    together of the buds and blossoms of this marble garden forms a picture
    that is very charming to the eye.

    We descended and entered. Within the church, long rows of fluted
    columns, like huge monuments, divided the building into broad aisles, and
    on the figured pavement fell many a soft blush from the painted windows
    above. I knew the church was very large, but I could not fully
    appreciate its great size until I noticed that the men standing far down
    by the altar looked like boys, and seemed to glide, rather than walk. We
    loitered about gazing aloft at the monster windows all aglow with
    brilliantly colored scenes in the lives of the Saviour and his followers.
    Some of these pictures are mosaics, and so artistically are their
    thousand particles of tinted glass or stone put together that the work
    has all the smoothness and finish of a painting. We counted sixty panes
    of glass in one window, and each pane was adorned with one of these
    master achievements of genius and patience.

    The guide showed us a coffee-colored piece of sculpture which he said was
    considered to have come from the hand of Phidias, since it was not
    possible that any other artist, of any epoch, could have copied nature
    with such faultless accuracy. The figure was that of a man without a
    skin; with every vein, artery, muscle, every fiber and tendon and tissue
    of the human frame represented in minute detail. It looked natural,
    because somehow it looked as if it were in pain. A skinned man would be
    likely to look that way unless his attention were occupied with some
    other matter. It was a hideous thing, and yet there was a fascination
    about it some where. I am very sorry I saw it, because I shall always
    see it now. I shall dream of it sometimes. I shall dream that it is
    resting its corded arms on the bed's head and looking down on me with its
    dead eyes; I shall dream that it is stretched between the sheets with me
    and touching me with its exposed muscles and its stringy cold legs.

    It is hard to forget repulsive things. I remember yet how I ran off from
    school once, when I was a boy, and then, pretty late at night, concluded
    to climb into the window of my father's office and sleep on a lounge,
    because I had a delicacy about going home and getting thrashed. As I lay
    on the lounge and my eyes grew accustomed to the darkness, I fancied I
    could see a long, dusky, shapeless thing stretched upon the floor. A
    cold shiver went through me. I turned my face to the wall. That did not
    answer. I was afraid that that thing would creep over and seize me in
    the dark. I turned back and stared at it for minutes and minutes--they
    seemed hours. It appeared to me that the lagging moonlight never, never
    would get to it. I turned to the wall and counted twenty, to pass the
    feverish time away. I looked--the pale square was nearer. I turned
    again and counted fifty--it was almost touching it. With desperate will
    I turned again and counted one hundred, and faced about, all in a
    tremble. A white human hand lay in the moonlight! Such an awful sinking
    at the heart--such a sudden gasp for breath! I felt--I cannot tell what
    I felt. When I recovered strength enough, I faced the wall again. But
    no boy could have remained so with that mysterious hand behind him. I
    counted again and looked--the most of a naked arm was exposed. I put my
    hands over my eyes and counted till I could stand it no longer, and then
    --the pallid face of a man was there, with the corners of the mouth drawn
    down, and the eyes fixed and glassy in death! I raised to a sitting
    posture and glowered on that corpse till the light crept down the bare
    breastline by line--inch by inch--past the nipple--and then it disclosed
    a ghastly stab!

    I went away from there. I do not say that I went away in any sort of a
    hurry, but I simply went--that is sufficient. I went out at the window,
    and I carried the sash along with me. I did not need the sash, but it
    was handier to take it than it was to leave it, and so I took it.--I was
    not scared, but I was considerably agitated.

    When I reached home, they whipped me, but I enjoyed it. It seemed
    perfectly delightful. That man had been stabbed near the office that
    afternoon, and they carried him in there to doctor him, but he only lived
    an hour. I have slept in the same room with him often since then--in my

    Now we will descend into the crypt, under the grand altar of Milan
    Cathedral, and receive an impressive sermon from lips that have been
    silent and hands that have been gestureless for three hundred years.

    The priest stopped in a small dungeon and held up his candle. This was
    the last resting-place of a good man, a warm-hearted, unselfish man; a
    man whose whole life was given to succoring the poor, encouraging the
    faint-hearted, visiting the sick; in relieving distress, whenever and
    wherever he found it. His heart, his hand, and his purse were always
    open. With his story in one's mind he can almost see his benignant
    countenance moving calmly among the haggard faces of Milan in the days
    when the plague swept the city, brave where all others were cowards, full
    of compassion where pity had been crushed out of all other breasts by the
    instinct of self-preservation gone mad with terror, cheering all, praying
    with all, helping all, with hand and brain and purse, at a time when
    parents forsook their children, the friend deserted the friend, and the
    brother turned away from the sister while her pleadings were still
    wailing in his ears.

    This was good St. Charles Borromeo, Bishop of Milan. The people idolized
    him; princes lavished uncounted treasures upon him. We stood in his
    tomb. Near by was the sarcophagus, lighted by the dripping candles. The
    walls were faced with bas-reliefs representing scenes in his life done in
    massive silver. The priest put on a short white lace garment over his
    black robe, crossed himself, bowed reverently, and began to turn a
    windlass slowly. The sarcophagus separated in two parts, lengthwise, and
    the lower part sank down and disclosed a coffin of rock crystal as clear
    as the atmosphere. Within lay the body, robed in costly habiliments
    covered with gold embroidery and starred with scintillating gems. The
    decaying head was black with age, the dry skin was drawn tight to the
    bones, the eyes were gone, there was a hole in the temple and another in
    the cheek, and the skinny lips were parted as in a ghastly smile! Over
    this dreadful face, its dust and decay and its mocking grin, hung a crown
    sown thick with flashing brilliants; and upon the breast lay crosses and
    croziers of solid gold that were splendid with emeralds and diamonds.

    How poor, and cheap, and trivial these gew-gaws seemed in presence of the
    solemnity, the grandeur, the awful majesty of Death! Think of Milton,
    Shakespeare, Washington, standing before a reverent world tricked out in
    the glass beads, the brass ear-rings and tin trumpery of the savages of
    the plains!

    Dead Bartolomeo preached his pregnant sermon, and its burden was: You
    that worship the vanities of earth--you that long for worldly honor,
    worldly wealth, worldly fame--behold their worth!

    To us it seemed that so good a man, so kind a heart, so simple a nature,
    deserved rest and peace in a grave sacred from the intrusion of prying
    eyes, and believed that he himself would have preferred to have it so,
    but peradventure our wisdom was at fault in this regard.

    As we came out upon the floor of the church again, another priest
    volunteered to show us the treasures of the church.

    What, more? The furniture of the narrow chamber of death we had just
    visited weighed six millions of francs in ounces and carats alone,
    without a penny thrown into the account for the costly workmanship
    bestowed upon them! But we followed into a large room filled with tall
    wooden presses like wardrobes. He threw them open, and behold, the
    cargoes of "crude bullion" of the assay offices of Nevada faded out of my
    memory. There were Virgins and bishops there, above their natural size,
    made of solid silver, each worth, by weight, from eight hundred thousand
    to two millions of francs, and bearing gemmed books in their hands worth
    eighty thousand; there were bas-reliefs that weighed six hundred pounds,
    carved in solid silver; croziers and crosses, and candlesticks six and
    eight feet high, all of virgin gold, and brilliant with precious stones;
    and beside these were all manner of cups and vases, and such things, rich
    in proportion. It was an Aladdin's palace. The treasures here, by
    simple weight, without counting workmanship, were valued at fifty
    millions of francs! If I could get the custody of them for a while, I
    fear me the market price of silver bishops would advance shortly, on
    account of their exceeding scarcity in the Cathedral of Milan.

    The priests showed us two of St. Paul's fingers, and one of St. Peter's;
    a bone of Judas Iscariot, (it was black,) and also bones of all the other
    disciples; a handkerchief in which the Saviour had left the impression of
    his face. Among the most precious of the relics were a stone from the
    Holy Sepulchre, part of the crown of thorns, (they have a whole one at
    Notre Dame,) a fragment of the purple robe worn by the Saviour, a nail
    from the Cross, and a picture of the Virgin and Child painted by the
    veritable hand of St. Luke. This is the second of St. Luke's Virgins we
    have seen. Once a year all these holy relics are carried in procession
    through the streets of Milan.

    I like to revel in the dryest details of the great cathedral. The
    building is five hundred feet long by one hundred and eighty wide, and
    the principal steeple is in the neighborhood of four hundred feet high.
    It has 7,148 marble statues, and will have upwards of three thousand more
    when it is finished. In addition it has one thousand five hundred
    bas-reliefs. It has one hundred and thirty-six spires--twenty-one more
    are to be added. Each spire is surmounted by a statue six and a half
    feet 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

    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

    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
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    Chapter 19
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