Beyond the sacristy, in the ambulatory, is a copy of the sacred painting of the Annunciation, in the SS. Annunziata in Florence. It is said to have been painted by Bronzino, and given by Francesco I. de’ Medici to Cardinal Borromeo. The Madonna del Parto further on is apparently a restoration of an ancient painting, and the object of a very special devotion. A bare inscription beneath it records that Niccolò Piccinino is buried with his son Francesco in this spot. The great Condottiere had prepared a splendid tomb for himself, but the marble was seized at his death for other purposes, and when Francesco Sforza became Duke, he preferred that the memory of his rival should go uncelebrated. The statue of Martin V. close by, a colossal seated figure, was sculptured by Jacopino da Tradate in 1421. In the long inscription in verse, by a Milanese gentleman of humanistic tastes, the sculptor is likened to Praxiteles. Beyond we come to the monument of Cardinal Marino Caraccioli, Governor of Milan from 1536 to 1538—a late and very uninspired work by il Bambaia. Close to it is a little Pietà, by one of the early Cathedral sculptors. The three great windows of the apse were originally filled with stained glass, by Stefano da Pandino and Franceschino de’ Zavatarii, early in the fifteenth century, but only in the upper part of the middle window does any of it survive; the rest is modern. In the sculptured tracery of the middle window appear the favourite emblem of Gian Galeazzo Visconte, the Dove in the midst of rays, and figures, sculptured after the design of Isacco da Imbonate, of the Virgin and the Angel of the Annunciation, and of the two bishop saints, Ambrogio and Galdino. The latter was Archbishop of Milan from 1166 to 1176, and a notable foe of heretics and Ghibellines.