S. Simpliciano, in the north of the city, has preserved three beautiful doorways of the Romanesque period, enriched with sculptured marble columns and roll mouldings. The eleventh century interior was enlarged in the late fifteenth century, and transformed in later restorations. Its chief interest now is the great fresco in the apse—the Coronation of the Virgin—an imposing composition by Borgognone in his advanced years, rich and decorative in colour, and remarkable for Quattrocento simplicity of treatment and feeling at a time when the great Cinquecentists had already revolutionised artistic ideals. To the east of S. Simpliciano, close to the Palazzo di Brera, stands S. Marco, which in the exterior of the transepts alone shows traces of its original thirteenth century form. The beautiful pointed door, with the statues in Gothic niches above, was built more than a century later. The rest of the façade is modern, and the whole exterior wears a vesture of new red brick. The campanile, with its pointed steeple and frieze of interlaced _archetti_, is early fourteenth century and very characteristic of the brick building of that period. The interior is baroque, but in the north transept there are some fine sepulchral monuments of Milanese nobles. They are all of the school of Giovanni di Balduccio, and the bas-reliefs upon them resemble in arrangement and style the tombs already seen in St. Eustorgio. One is to Salvarino Aliprandi, of an ancient patrician family in the city, who died 1344. Another commemorates Lanfranco Settala, General of the Augustinian Order and founder of the church, who died in 1264. His genial effigy is carved on the tomb, seated in his preceptor’s chair, with his devout and diminutive pupils around him. Here is also the tomb of Martino Aliprandi, a man distinguished for his learning and eloquence, sent as envoy from Azzo Visconte to Pope John XXII. in 1332, and yet another, that of Giacomo Bossi, a knight of the Empire, who died in 1355. The monument of the Birago family, which is placed above the last, though sculptured as late as 1455 by Cristoforo dei Luvoni, shows little artistic advance on the Trecento works.