The arch of the east wall in the arm of the church is covered with a large faded fresco of the Adoration of the Magi, attributed by some to Bramantino. In the Chapel of the Magi below a massive and quite unadorned sarcophagus purports to be the tomb where the bodies of the Three Kings reposed. They had been brought hither, according to tradition, by home-returning crusaders, and here they lay, worshipped and plied with rich offerings by faithful pilgrims from all parts of Christendom, until 1164, when they were carried off by Barbarossa’s chancellor, the Archbishop of Cologne, as some of the most precious spoils of the conquered city. The old story of the Wise Men is sculptured over the altar by Gio. di Balduccio, or more probably by one of his scholars. It is a crowded composition, in which the vivacity and movement of the short thick figures show the growing tendency towards realism still restrained by classic traditions. On the wall opposite this chapel is the fourteenth century tomb of Protaso Caimi, a noble Milanese knight; it is decorated with the familiar composition of the occupant kneeling before Madonna, with saints in attendance, among whom may be noticed Sta. Martina, holding her lion across her by its fore and hind legs. A coloured and gilded statue of St. Eugenius, of rigid archaic style, but probably not earlier than the end of the thirteenth century, stands also in this part of the church. The richly sculptured altarpiece of the High Altar still shows the Pisan influence. But it belongs to the end of the fourteenth century, when it was presented to the church by Gian Galeazzo Visconte, and shows in the attitudes and draperies and long slender forms a new delicacy of workmanship and a new search for sentiment and grace, notably in the Madonna with head turned and throat stretched, standing beside the cross, and the grieving St. John on the other side. The upper part, with the stucco statues, is a seventeenth century restoration.