Under the window further on is an ancient Crucifix, with head restored, brought here from the chapel of Filippo Maria’s castle when it was demolished by the Ambrosian Republic. Tablets under the great windows record members of the Sforza family buried here. It was in the apse that the biers of the Dukes of Milan used to be suspended, between the columns, till San Carlo reformed them away. The body of Gaston de Foix was given royal place among them, being hung between the two great pillars on the left hand of the altar. Cardinal Borromeo did not have the displacing of that, however. He was anticipated by the Swiss mercenaries under the brutal Cardinal de Sion, who, only a few years after the hero was buried, tore down the bier and scattered the remains, to the scandal of all Christendom. A fresco further on in the ambulatory, of the Crucified, with Saints, a poor work with a certain charm of simplicity and prettiness, by Isacco da Imbonate, in 1423, seems to show an intention, quickly abandoned, of clothing the walls with paintings. Beyond we come to a fifteenth century painting of Madonna, and St. John the Baptist, standing in a flowery landscape, showing little merit except decorative charm. High up against the wall is a statue of Pius IV., by the sixteenth century sculptor, Angelo Siciliano. The Gothic ornamentation over the door of the north sacristy takes us back to early days again. It is by Giacomo da Campione.[6] The canopy encloses a relief of Christ in Glory, surrounded by angels and saints, and in the tympanum below, Christ appears between the Virgin and St. John. These sculptures are more accomplished than those of the south sacristy, though they show the Lombard lack of idealism; the small profile busts of men in the costume of the period on the architrave—perhaps portraits of the artist’s fellow-workmen on the Cathedral—are excellent, well-modelled, and full of vivacity. Footnote 6: See Malaguzzi Valeri, op. cit., vol. i. p. 56.