The church bears, I think, unmistakable marks of Bramante’s authorship, being a reflection on a reduced scale of St. Andrea of Mantua by Alberti, which there is every reason to believe had been studied and admired by Bramante during his travels in the north for improvement in his art, and a foreshadowing of the great scheme which he subsequently prepared for St. Peter’s in Rome. Like St. Andrea, it has a barrel-vaulted nave and transept, with a dome on pendentives over the crossing. The aisles have groined vaulting, and the piers are square and are faced with pilasters. The dome is raised on a very low drum moulded in stucco into the form of an entablature, and the vault surfaces are elaborately coffered in stucco. The church has no eastern arm, since a wall with a much-venerated painting of the Virgin is said to have stood so near the site that space for such an arm could not be had without demolishing it; and as this was not to be thought of, Bramante made a semblance of an eastern arm in the form of a sunk panel with splayed sides, on which he wrought in stucco relief the elaborate perspective which is so noticeable a feature of the interior. [Illustration: FIG. 79.--Sacristy of San Satiro.] The sacristy (Fig. 79) was built immediately after the church, in the form of an octagon about eight metres in diameter. It is covered with an octagonal dome lighted by a circular opening in each of its sides just above the springing level. The walls of the interior are divided into two stages, the lower one having segmental niches alternating with shallow rectangular recesses, one on each side of the polygon except that of the entrance, while the stage above has a gallery, like a triforium, in the thickness of the wall, with a pair of round-arched openings in each bay. The dome is enclosed within a drum of brick which is covered by a low-pitched timber roof. The ornamental details of the interior are all of stucco, and consist of two superimposed false orders of pilasters set in the angles, and broken on plan so as to fit them, the entablature of each order having a ressaut over each pilaster, and the surfaces of the friezes and pilasters being profusely enriched with ornaments in relief. But these details are said to have been extensively worked over in later times, so that it is doubtful whether any correct idea of the original character of this interior can now be formed, except as to its larger features.