ruined fourteenth century frescoes in the vaulting, representing apparently the four Doctors of the Church in grand canopied seats. The next contains the rich Gothic tomb of Stefano Visconte, son of the great Matteo and father of Bernabò and Galeazzo. The monument dates from the middle of the fourteenth century. Upon the front is a bas-relief of Madonna and Child, with the kneeling figures of Stefano and his wife, Valentina Doria, the one being presented by his name-saint, St. Stephen, behind whom stand Peter Martyr and Peter the Apostle, the other by St. John Baptist, with St. John the Evangelist and St. Paul behind. Beneath the cusped arch of the canopy is Madonna again, a stately maternal type, smiling as she holds a fruit above the Child, as if playing with His eagerness to seize it—a motive more graceful and natural than is usual in the rather stiff and heavy compositions of the Lombard masters of that period. The dignity and naturalism of this sculpture altogether shows the hand of one of the most successful followers of the Pisan Giovanni di Balduccio. The monument in the next chapel is to Gaspare Visconte, of a collateral branch of the reigning House, who had been sent on embassies to England and was a Knight of the Garter. It resembles Stefano’s in design, but the bas-reliefs are later and inferior work. Opposite is the recumbent statue, torn from its right place and set up against the wall, of Gaspare’s wife, Agnese Besozzi (died 1417), with her sons at her feet. Above this stone is a sarcophagus, with a bas-relief of the Coronation of the Virgin, with angels and saints and devotees, also by some scholar of Giovanni di Balduccio. The Snake emblazoned on it shows that it commemorates some of the Visconte family, probably one Uberto and his son Giovanni, with their respective wives. The last chapel on this side is said to have been dedicated by Martino della Torre to his name-saint of Tours. No trace of the great Guelf House remains in it. It seems to have been usurped by their conquerors, the Visconti, whose Snake appears in the fifteenth century frescoes—much damaged by the whitewash which once covered them—upon the vaulted roof. In these, which represent the Evangelic Beasts and various saints, there appears on the left a woman’s figure carrying a shield with the letters ‘B. M.’ and a crown upon it, in homage, it would seem, to the Duchess Bianca Maria Visconte Sforza.