The monument of Peter Martyr occupies the middle of the chapel, which was built to enshrine his head only, and not this huge Trecento tomb containing the rest of his body, which was moved here in the seventeenth century from its place in the church and is a superfluous and cumbersome feature, quite out of keeping with the finished little Renaissance building. In itself the tomb is a very fine and important work, the masterpiece of Giovanni di Balduccio—though in parts the help of his scholars is visible—the model in thought and style for the monumental sculptors of the Trecento in Milan. The name of the sculptor and the date, 1239, are inscribed upon it. The sarcophagus is decorated with bas-reliefs narrative of the Saint’s career, crowded and vivacious compositions, in all of which except that of the healing of the dumb boy an inferior hand has been traced.[13] Figures of the Virtues, stately and classic in type though characteristically thick and short, stand against the pilasters, each with feet planted on some symbolic creature. The different orders of angels are represented by figures on the top of the sarcophagus, and the pyramidal cover is decorated with more bas-reliefs—a king and queen kneeling, a bishop, friars and devotees, the Saint crowned by angels and blessing the people of Milan. The monument is completed by a beautiful Gothic canopy with Madonna enthroned between St. Dominic and St. Peter Martyr. Footnote 13: Ventura, _Storia dell’ Arte_, vol. 4, p. 562. * * * * * S. Vincenzo in Prato, to the west of San Lorenzo, is a beautiful example of early Romanesque. Built by Abbot Gisilberto in 833, it was restored after 1000, and after undergoing the usual transformations of the baroque period it was reduced quite recently to its old Lombard form of three aisles ending in three apses, the principal apse containing the sanctuary being raised above a deep crypt. The brick exterior, with the row of deep niches round the apse and the ornamental _archetti_ beneath the roof, is very picturesque and characteristic. Another interesting building of the end of the tenth century is the abandoned fragment of the old Church of S. Celso, which gives its name to the great adjacent temple of Sta. Maria di S. Celso. The principal part of the old basilica was pulled down in 1818 to give light and air to its overgrown neighbour, and there is little more than the apse now left, and some interesting capitals of Romanesque style inside and outside the building. The fine old doorway has fortunately escaped destruction, and has been embodied in a new façade, built in 1851. Upon the architrave is a rude bas-relief depicting the story of San Celso and his companion, San Nazaro, who were martyred in the Field of the Three Mulberry Trees, the very spot where the church stands. The decaying wooden doors and the Madonna and saints at the top are of the fifteenth century.