Further on, beside the modern gate, is the old basilica of St. Eustorgio, once famous as the resting-place of the Three Kings, and later as the shrine of St. Peter Martyr. Tradition declares that the basilica was built by the Milanese bishop, St. Eustorgio, in the fourth century, on the site of an ancient font used by St. Barnabas himself to baptise his converts. The primitive church, whatever its date, was replaced later by a Romanesque building, which exists in the main to this day, though with many alterations and modifications made by successive generations of devotees. Recent restorations have cleared away the disfigurements which it suffered in the baroque period. The exterior gives a striking record of the phases through which the church has passed. The façade is in the characteristic style of the thirteenth century, but dates only from 1865. The south flank, which was restored at the same time, is of the fourteenth century, when the Visconti, Torriani and other great families, eager to show their devotion to the church where the recent martyr Peter of Verona was buried, built a series of sepulchral chapels on this side. With its slender pointed windows, and _oculi_ deeply set within a rich framework of multiplied mouldings, its gables and characteristic ornamentation of interlaced _archetti_ beneath the eaves, it is a very graceful example of the Gothic brick building of North Italy. A chapel projecting at the western end belongs to the fifteenth century, and was built by Pietro Solari. The apse of the church, with its deep-niched arcade, carries us back again to the Romanesque period. Beside it rises, in accordant style, the Campanile, which was begun in 1297, and beyond, at the east end of the church, is a beautiful chapel, built nearly two centuries later—in 1462—for Pigello Portinari by a Tuscan architect, probably Michele Michelozzo. The tall brick Campanile, soaring in its direct simplicity and strength, each storey marked by a line of graceful _archetti_ and of bricks set pointwise above them, making a sort of dogtooth ornamentation, and its angles faced with white stone, contrasts in an interesting manner with the proud little building below. The Portinari chapel shows the new development of brick architecture in obedience to the classic ideas of the Renaissance. The rotund cupola swelling upon the broad square base, the elaborate yet harmonious combination of curves and rectangles, the restrained decoration of moulded pilasters and flat-carved capitals, of rich terra-cotta cornices and deep-moulded _oculi_, the skilful arrangement of colour in the distribution of stucco and brick, all reveal new thoughts, new ideals, new knowledge, a sort of human pride undreamed of by the faithful souls of the earlier generation, who thought only of glorifying God and lifting their building as near to Heaven as they could. [Illustration: EXTERIOR OF PORTINARI CHAPEL, ST. EUSTORGIO.]