A chapel on the south side of the church leads to the small sanctuary which is all that remains of the Basilica Faustæ, or San Vittore in Cielo d’Oro, afterwards dedicated to S. Satiro, who was buried there in 379 by his brother St. Ambrose. The present chapel, restored in 1859, is the easternmost bay of the original church, which was probably rebuilt in the eighth century. The deep cupola is covered with gold mosaic, with a figure of San Vittore in the centre, whence the name San Vittore in Cielo d’Oro. The Evangelic Beasts are represented round the cupola, and on the walls below are stiff figures of bishops and saints of the Milanese Church. These mosaics are fifth century, but have been restored. A chapel lower down on this side of the church is frescoed with the legend of St. George, by Lanino, a follower of Gaudenzio Ferrari. Near a side door further down still is a painting, in very bad condition, attributed to Ferrari—Christ bearing the Cross, with the Three Maries—and some late and inferior frescoes of the same school. A coloured stucco image of St. Ambrose, of the eleventh century, done from a portrait of him taken from life, as the inscription informs us, is to be seen on the wall nearer the west end. Beneath it is the stone sarcophagus of Archbishop Ansperto, and the famous epitaph referring to the building of the atrium. On the north wall, opposite, a relic of the pagan past is placed over the door leading into the belfry, a bas-relief of the Vintage, exquisitely decorative and gay. It is supposed to be a vestige of a Temple of Bacchus, which, according to tradition, stood upon the site of this church and was swept away by Ambrose. The last chapel on this side is the baptistery, and here is a fresco by Borgognone over the altar—the Risen Christ between two Angels. The long, slender figure of the Christ, graceful but nerveless, the general expression of pensiveness and sweetness, the colour no longer grey and pallid, as in his earlier pictures, but rich and harmonious, are very characteristic of this artist in his late period. Two columns standing in the nave are surmounted, one by a serpent of bronze, the other by the cross. The serpent, if we may believe the eleventh century chronicler Landolfo, is that very one which Moses set up in the wilderness, and was brought in the writer’s own day from Constantinople by Archbishop Arnolfo, who had gone thither to seek the hand of the Emperor’s daughter for Otho III., and to whom the Greeks, who owned the sacred treasure, had presented it. Women used to bring their sick children to the column to be healed by the serpent.