ingenuity and the cleverness with which it is executed. The gilded friezes and capitals of the nave are of the best Renaissance style, rich but of clear and not over-elaborate design. In the spandrils beneath the cupola are medallions circled with gilded ornamentation and containing paintings of the four Evangelists, by Bramantino, dignified forms, dim and rich in colour as seen from below. There is an old picture of the Virgin over the High Altar, with a portrait in it of the young Duke Gian Galeazzo Sforza, but it is held in such extreme veneration that the veil covering it may not be withdrawn except on one special day of the year. The Chapel of the Pietà is at the end of the left transept. This ninth century structure, founded according to tradition by Archbishop Ansperto, was restored at the time when the large church was built beside it. The coloured terra-cotta group of the Deposition which gives its present name to the chapel, a crudely realistic work, ably modelled and utterly inartistic, has been ascribed, quite unjustifiably, to the famous Milanese goldsmith, Caradosso, a delicate worker in fine materials. It is probably by one of the many Lombard sculptors of the style of the Mantegazza. Adjoining the church on the right is the Baptistery or sacristy, a beautiful little example of Bramante’s work. It is a small octagonal building with a lofty dome and very richly decorated. The remarkable terra-cotta frieze, composed of heads projecting from wreaths, between groups of sportive _putti_, and painted to look like bronze, has been also always ascribed to Caradosso; but it is now pronounced to be certainly not his work, the style of the heads, vigorous, realistic, and somewhat coarse, showing all the characteristics of the late fifteenth century Lombard school of sculpture, rather than the fine hand of the metal-worker, trained in Rome, whom documents, moreover, prove to have been absent from Milan when this work was executed. The exterior of the church is much hidden by the houses around, but a bit of it can be seen closely in Via Falcone and shows Bramante’s hand in the bold classic style, and the strong, simple, and graceful design of the terra-cotta ornamentation. From the Via Carlo Alberto one gets an impressive view of part of the low and elaborate Renaissance pile, proud and learned, and beautiful with brick and stucco decoration, swelling beside the simple old Campanile which belongs to the original ninth century church, and is the most ancient example of a Romanesque tower now existing in Milan. [Illustration: SAN SATIRO]