On a continent known for its historic architecture and must-see tourist attractions, the Milan Cathedral stands out for its sheer size. The fifth largest church in the world, Duomo di Milano began construction in 1386 under Archbishop Antonio da Saluzzo, the cousin of Milan's ruler Gian Galeazzo Visconti, who proposed the cathedral as a gift to the working classes who had survived the iron fist of his predecessor, Bernabò Visconti. Taking over six centuries to complete, with a constant rotation of renovations aimed at maintaining its vigour, the cathedral proudly stands in dedication to St Mary of the Nativity in the famous Piazza del Duomo.

Front facade of the Milan Cathedral, image by Flickr user Aditya Karnad via Creative Commons

Plans for the massive church evolved with time. French chief engineer Nicolas de Bonaventure added the cathedral's Rayonnant Gothic style at the behest of Visconti, who sought to capitalize on the latest trends in European architecture. Upon Visconti's death in 1402, about half of the structure was completed. When it was consecrated 16 years later, the marble structure remained largely unfinished. Construction troubles continued to plague the project in the subsequent years. Pellegrino Pellegrini was appointed chief engineer in 1571 and — instead of following through on the previously settled Rayonnant motif — decided to adopt a new Renaissance appearance. His vision was short lived, and new chief architect Carlos Buzzi, appointed in 1649, decided to revert back to the original Gothic aesthetic. At this point, only the nave was substantially completed, leaving the look of the all-important facade up in the air. In 1805, yet another chief architect was appointed by Napoleon Bonaparte in Carlo Pellicani, who quickly followed through on Buzzi's established plans. The cathedral was finally realized in 1812, with some finishing touches, including the 1965 installation of the building's last gate, carried out in the decades that followed.

The flying buttresses and pinnacles of the cathedral, image by Momin Ahmad

For a fee, tourists can climb a set of stairs or take the elevator to the roof, where views of the city, though obscured by pinnacles and spires, can be gleefully enjoyed. Some of the cathedral's massive array of statues are visible from this vantage point. With over 3,400 statues, 135 gargoyles, and 700 figures adorning the interior and exterior, the building boasts more figures than any other structure in the world. While the uneven surface and high height may be enough to deter some guests, wire mesh across the open areas provides a heightened sense of security. As visitors observe Milan's rich geography, their experience is itself observed by the Madonnina, a gold-coloured statue of Virgin Mary placed atop the cathedral's highest spire at 108.5 metres.

The Madonnina overlooks visitors on the roof, image by Momin Ahmad

With the Piazza del Duomo situated below and the Alps forming a striking backdrop, the space between is shaped by elegant terra cotta rooftops with some unorthodox architectural surprises. One of them is the 1950s-era Torre Velasca to the south, which is among the most prominent skyscrapers in Milan. Said to be a modern reinterpretation of an Italian medieval castle, the mushroom-shaped residential and commercial structure is a significant departure from a cityscape dominated by mid-rises and domed structures.

View of Torre Velasca to the south, image by Momin Ahmad

Like most European cities, including London, Paris, and Moscow, Milan's skyscrapers are mostly concentrated within a modern business district. Panning to the north, Centro Direzionale di Milano lies between the Milano Centrale and Milano Porta Garibaldi railway stations. Built to alleviate congestion in the traditional city centre, the dense cluster of buildings includes the 231-metre Unicredit Tower, which is the tallest building in Italy thanks to its soaring spire. It also houses Bosco Verticale, a two-tower residential complex that has earned praise for its innovative incorporation of trees as crucial architectural elements.

Centro Direzionale di Milano to the north, image by Momin Ahmad

In a testament to the cathedral's cultural and historical importance, the apse houses one of Christianity's most cherished relics. A lone red lightbulb marks the spot of a nail used in Jesus' crucifixion. Each year, the archbishop of Milan ascends to the top in a wooden basket and retrieves the nail for public display, until it is again returned to its resting location.

Piazza del Duomo from the cathedral roof, image by Momin Ahmad

Routine restorations are conducted in order to maintain the building's luster, though recent austerity cuts have taken money out of the culture budget. To compensate, the cathedral launched an "adopt a gargoyle" campaign in 2012, where donors who contribute €100,000 will have their names etched under one of the figures.

The cathedral undergoes constant renovations, image by Momin Ahmad

Despite its inarguable status as one of Italy's most enduring landmarks, initial reactions among commentators were mixed. English art critic John Ruskin panned the structure for stealing "from every style in the world." Irish playwright and novelist Oscar Wilde was resolute in his criticisms as well, calling the cathedral "monstrous," "inartistic," and "an awful failure." On the other side of the aisle, iconic American writer Mark Twain applauded the building for its grandiose yet delicate characteristics. "They say that the Cathedral of Milan is second only to St. Peter's at Rome," Twain remarked. "I cannot understand how it can be second to anything made by human hands."

Spires line the perimeter of the rooftop observation deck, image by Momin Ahmad