The interesting Church of S. Pietro in Gessate, in the east, has kept more of its original form. It was built about 1460, probably by Guiniforte Solari, and enlarged later. The nave, of a pure and simple Gothic, is flanked with chapels of the same style, built by noble Milanese families. Some of these have escaped seventeenth and eighteenth century disfigurement. The second chapel on the right has mediocre and much repainted frescoes of the Marriage and Death of the Virgin. The decoration of the roof with figures of saints in simulated niches, and angels in medallions resembling round windows, is a very favourite arrangement with the Milanese painters. The frescoes in the chapel of St. Anthony—the next going upwards—are attributed to Montorfano. In the large altarpiece Mariotto Obiano da Perugia, and Antonia de Michelotti, his wife, founders of the chapel, are portrayed kneeling to the enthroned Virgin, to whom they are being recommended by St. Benedict and St. Anthony respectively. Above is the Dead Christ with St. Sebastian and St. Roch. The architectural details of this picture are very rich, and the marvellously patterned dress of the lady is painted with the utmost minuteness and finish. The dark ashen hue of the Virgin’s face, the high lights on the salient features, the ugly little angel playing on the lute, and the general impression of laborious care are all very characteristic of the uninspired but painstaking minor painters of the earlier Milanese school. The great frescoes of the Capella Grifi in the south transept are more important, and are interesting as being in part by Bernardo Zenale, of whom there is only one other undisputed work known. As in the altarpiece at Treviglio, so here Zenale was associated with Buttinone. The frescoes are, however, so much ruined that it is difficult to judge them or to distinguish the different hands. On the left wall are scenes from the life of St. Ambrose, with groups of fifteenth century courtiers in the foreground. The subjects on the right are almost obliterated, but we seem to distinguish St. Ambrose again, seated in judgment. The curious figure above, of a man hanging, is inexplicable, unless as a symbol of justice visited on malefactors. The general colour of the painting is warm and decorative, and more spontaneous than Buttinone’s laboured easel pictures would make us expect. The types of some of the courtiers in the left-hand fresco, and the women with long plaited hair on the right are so much fairer and more refined than anything one knows of Buttinone’s that one is led to attribute that part to Zenale; but the rather coarse angels of the vaulted roof, very recently uncovered, seem to be very Buttinone. The white-robed figure of St. Ambrose below them, on a white horse against a blue sky, prancing forth against the Arians, scourge in hand, is extremely decorative. On the floor of the chapel, bereft of the sarcophagus on which it once rested, lies the recumbent