And the proud pomp, the dazzling, crushing splendour of everything, also astonished him: he marvelled at the cupola, looking like a planet, resplendent with the gold and bright colours of its mosaic-work, at the sumptuous _baldacchino_ of bronze, crowning the high altar raised above the very tomb of St.Peter, and whence descend the double steps of the Confession, illumined by seven and eighty lamps, which are always kept burning.

And finally he was lost in astonishment at the extraordinary profusion of marble, both white and coloured.

Oh! those polychromatic marbles, Bernini's luxurious passion! The splendid pavement reflecting the entire edifice, the facings of the pilasters with their medallions of popes, the tiara and the keys borne aloft by chubby angels, the walls covered with emblems, particularly the dove of Innocent X, the niches with their colossal statues uncouth in taste, the _loggie_ and their balconies, the balustrade and double steps of the Confession, the rich altars and yet richer tombs--all, nave, aisles, transepts, and apsis, were in marble, resplendent with the wealth of marble; not a nook small as the palm of one's hand appearing but it showed the insolent opulence of marble.

And the basilica triumphed, beyond discussion, recognised and admired by every one as the largest and most splendid church in the whole world--the personification of hugeness and magnificence combined.
Pierre still wandered on, gazing, overcome, as yet not distinguishing details.

He paused for a moment before the bronze statue of St.Peter, seated in a stiff, hierarchical attitude on a marble pedestal.