There are some ruined frescoes by Gaudenzio Ferrari in the fourth Chapel on the south side of the church. The old, low-vaulted ornate chapel of the Rosario, on the north side, has some fifteenth century frescoes, also ruined. Close to the altar is a large sepulchral monument to the Della Torre family, late fifteenth century, attributed to the Cazzaniga. The monument to Branda Castiglione, with the realistic profile and delicate arabesques, is perhaps by Briosco,[17] and that to the Della Valle by Fusina. Footnote 17: See Malaguzzi Valeri, _G. A. Amadeo_, p. 238. The most interesting part of the building architecturally is the small cloister which leads to the old sacristy, both recently restored. Here the beautiful porticoes, in which the characteristic Lombard charm of colour due to the combination of brick and stone is joined to a singular purity and grace of form, justify the traditional belief that Bramante was the architect. The sacristy also, a lofty rectangular building, is probably his. The roof is decorated with a curious painted pattern of intertwisted cords, such as is seen in some of Leonardo’s drawings. There are beautiful presses, some of which are inlaid, others painted in imitation of inlay; they are decorated with small painted scenes, biblical and legendary. They were begun in 1498 by the sacristan, Fra Vincenzo Spanzotto, and continued later under the care of Matteo Bandello. In the recess at the east end there is a very poor altarpiece, representing Gaspare Vimercati kneeling before St. John Baptist, attributed to Marco d’Oggiono; and on either side of the chapel a profile in bas-relief, one a portrait of the Moro, the other of his son Maximilian, a charming-looking youth with curling hair, at about the age when he returned to Milan as Duke—by some Milanese sculptor of the early sixteenth century. A fresco on the right-hand side, by Luini, shows Madonna, with Beatrice d’Este and one of her little sons kneeling as devotees. It is a charming presentment, joyous and young, of the princess as she may have remained in the memory of the artist from the days of his youth.