Other details of interest are to be seen on and about the roof of the apse. When in ascending from below you emerge into the open air, take the passage straight before you, instead of mounting higher or turning on to the roof of the south aisle. Passing through a covered way you will soon come out upon a little projection of the roof, close to some of the monstrous gargoyles, and the _Giganti_ beneath them. These last are robust and dignified survivals of the fourteenth century, and of the serious traditions of the Lake Masters, and are curiously at variance with the later style of ornamentation on the building. Further on, on the roof of the south sacristy, to which a stairway leads down, stands the Eve of Cristoforo Solari, a graceful and expressive figure, lumpy, however, in its contours. On the corresponding roof of the north sacristy, on the other side of the apse, is the companion statue of Adam, leaning in melancholy pose upon his spade, a heavy and nerveless presentment of the father of mankind, yet most favourably distinguished in taste from the later statues on the Cathedral. The pinnacle at the north-east angle of this sacristy roof, surmounted by the figure of a Knight holding a banner, is one of the oldest pieces of work on the Cathedral. It is fourteenth century pure Gothic, and the careful and artistic workmanship of all the rich detail of ornament on it is very impressive in comparison with its surroundings. From the roof of the Cathedral one has an unobstructed view of the tall octagonal Campanile of San Gottardo to the south. This beautiful and characteristic North Italian building of the fourteenth century combines the beauties of Lombard and Gothic with incomparably harmonious effect, achieving a wonderful charm of colour and grace by the delicate marble arcades and slender soaring shafts of marble with which the solidity of the ruddy brick is lightened. Unfortunately we see the brick now in the rawness of recent restoration. The tiled steeple is surmounted by a bronze angel in stiff pose with wings outspread. This Campanile was built about 1330 by Magister Franciscus di Pecoraris da Cremona for Azzo Visconte. The church beside it which that gouty prince raised in honour—among other saints—of S. Gottardo, the protector of sufferers from gout, and filled with precious ornaments and works of art, replaced the old Baptistery, San Giovanni alle Fonti. It was completely modernised in 1770, and the ancient apse—which is perhaps anterior to the fourteenth century—is the only survival of the old building. San Gottardo served as the chapel of the great Visconte palace, which stood on the south of the Cathedral where now sprawl the melancholy courts and mean buildings of the Palazzo Reale. This palace had been originally the seat of the Milanese Consuls, and the space around it was the Broletto Vecchio, where the public buildings stood in the early days of the Republic. When Matteo Visconte made himself master of Milan, he and his