The frescoes of the chapel on the right of the sanctuary are also by Luini. In the midst is the Scourging of Christ; on the left the fine portrait of an old man, Francesco Besozzi, at whose charge the chapel was painted, and St. Catherine protecting him; on the right St. Lawrence. Above and at the sides are depicted scenes from the legend of St. Catherine. The figure of the saint being beheaded—on the right-hand side—is very beautiful. The meek bent head, with rich gold hair simply coiled, the adorable neck bared for the sword, the golden dress, composing an exquisite harmony of colour, make one forgive Luini for sometimes boring one a little. Bandello, in his story of the Contessa di Cellant, tells us that this is a portrait of that naughty and ill-fated lady, who was beheaded on the piazza of the Castello in 1524 for having induced one of her lovers to murder another. But there seems to be no real foundation for this identification, and it is difficult to associate this wholly lovely creature with the too passionate Contessa. The frescoes in the other chapels are by the school of Luini. Passing into the choir, or Nuns’ Church, we see on the other side of the dividing wall more frescoes by Luini himself, corresponding to the decoration on the public side. Here is another row of sister saints, whose beauty is the more enchanting for the veil spread over them by the centuries, and happily undisturbed. These gracious ladies stand for Apollonia, Lucia, Catherine, and Agatha. The story of the Passion is frescoed round the altar. Near by may be seen the arms of the Bentivogli and Sforza quartered together, and the initials of Alessandro and Hippolita, the benefactors of the church. The lower part of the wall is decorated in chiaroscuro, with angels and saints in simulated terra-cotta medallions. The ceiling painting over the altar—God the Father surrounded by saints—is by Borgognone, by whom are also the figures of bishops and saints between the arches on each side of the church. The rest of the frescoes with which the walls are everywhere covered are poor works, by the sons and followers of Luini. The carving of the double row of stalls, simple but of very good style, is of the same period as the church.