The Duomo's unexpected surprises

The Statue of Liberty
Is it possible that Milan was ahead of New York with an older Statue of Liberty? So it seems, as the Duomo of Milan houses a statue sculpted in 1810 by Camillo Pacetti, which depicts the "New Law" and bears a striking resemblance to its American counterpart, so much so that it may have been the source of inspiration for Frédéric Auguste Bartholdi, the sculptor of the New York version.
To admire it, you have to look for it on the central balcony above the entrance door. Set in one of the city's most iconic locations, it offers a visual reminder of justice and freedom, just like its American counterpart. Despite its high location, the imposing figure still manages to capture the attention of those who know what to look for. A pair of binoculars or the zoom on your camera will let you to better appreciate the details of this work of art that is as extraordinary as it is hidden.

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The Sundial
Embedded in the floor of the central nave hides The Sundial, a mysterious scientific masterpiece that has been marking the midday hour with precision since 1786. In essence, it is a brass strip embedded in the floor, running across the entire cathedral from South to North, near the entrance, then going up three meters along the wall, because the floor was not quite long enough.
Until the late 18th century, Italians counted 24 hours starting from sunset, a time that fluctuated significantly throughout the year. To avoid this variability, many European nations adopted the true noon, which is the time when the sun reaches its highest point in the sky. The Sundial was used to accurately pinpoint this moment. It was introduced in 1786, during Austrian rule, to comply with a decree requiring the adoption of transalpine time.
Built by Brera's astronomers, it relies on a small hole in the ceiling at 24 meters high that allows the sun to cast a beam of light on the brass line, signaling the true noon. The location was not chosen at random: it had to be visible to citizens without disrupting religious celebrations, while astronomers could synchronize with the Brera Observatory.
To announce to the entire city that it was noon, a signal was sent from the Duomo to the Sforza Castle, where a cannon was shot to signal the start of a new day, allowing citizens to adjust their clocks. This tradition not only ensured accurate timekeeping throughout the city, but also melded science with everyday life.
Along the Sundial line, you'll also find zodiac signs, a curious incursion into a mystical setting.

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The Holy Nail
At the heart of the cathedral lies one of its most revered reliquaries: the Holy Nail, believed to be part of Christ's Cross. Stored above the high altar, the Nail can only be accessed through a complex system of pulleys called "Nivola", inspired by St. Ambrose's cloud chariot. Every year in September, the Holy Nail is lowered for display to the faithful during the Rite of the Nivola. The roots of this ritual can be traced back to the 15th century when Archbishop Carlo Borromeo made it a public event. Legend says that the Holy Nail was found in the 4th century by Saint Helena, the mother of Emperor Constantine, during her pilgrimage to the Holy Land. Approximately 24 centimeters long, the relic is kept inside a crystal and gold cross hanging some 40 meters above the ground, visible only through a small hole in the cathedral’s ceiling. The yearly event is even more intriguing thanks to the antique machinery of the Nivola, a cloud-shaped platform that lifts the Archbishop up to the relic. It is a system so complex that some claim it was designed by Leonardo da Vinci.

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Saint Bartholomew Flayed
In the right transept, near the exit door, you'll find one of the cathedral's most impressive works: the statue of Saint Bartholomew Flayed, created by Marco d'Agrate in 1562. This sculpture is an extraordinary example of Renaissance art and its starkly realistic depiction is a veritable ante litteram horror.
Saint Bartholomew, one of Jesus' twelve apostles, is depicted carrying his own skin on his shoulders, a detail that alludes to his martyrdom by flaying. The statue shows his skinless body, exposing muscles, tendons, and blood vessels with striking anatomical realism. This horrifying level of detail continues to captivate the Duomo's visitors.
Initially placed on the cathedral's exterior, the statue was later moved inside to allow for better viewing.

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The world's highest Gothic terrace
The Duomo of Milan is an ode to Gothic grandeur, and its terraces are its beating heart. Spanning 8,000 square meters, they are the world's largest walkable roof on a Gothic cathedral. 135 spires rise from the terraces, standing some 17 meters high, accompanied by more than 3,400 statues, 150 gargoyles, and 96 giants. Visitors can easily access the walkways on the first level (31 meters), and then climb to the second (45 meters) where the 1,530 square meter central terrace mirrors the size of the nave below.

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The "Intruders"
As we have seen, climbing the terraces of the Duomo di Milano is a mesmerizing experience thanks to its Gothic beauty and breathtaking views, but there is also another surprise in store, namely the presence of unexpected "intruders" among the sacred decorations.
Alongside the statues of saints and angels, unexpected figures emerge, such as boxers in combat (with Primo Carnera stealing the show), portraits of historical figures such as Dante Alighieri, artists such as the conductor Arturo Toscanini, and sporting objects such as tennis rackets and rugby balls. Ensconced in the falconry, these hidden details tell tale of the Milan of yore and bear witness to how various eras shaped the cathedral’s construction. Even the triptych depicting the faces of King Vittorio Emanuele, Pope Pius XI, and Mussolini — the latter clearly recognizable despite being disguised with an improbable turban — betrays the 1920s as the era of its restoration (in this particular case, the three faces commemorate the Lateran Pact of 1929). Thus, sacred art and secular symbols intertwine in a surprising manner, the reflection of an Italy that is complex and multifaceted.