Sta. Maria della Passione, with a great cupola built by Cristoforo Solari early in the sixteenth century, and an ornate late Renaissance façade, contains one of the most important works of Luini’s earlier career, a large picture of the Deposition, in the choir. There are some fine Cinquecento choir stalls. In the right transept are Christ and the Apostles by Borgognone, and in the left a Last Supper by Gaudenzio Ferrari. The sacristy has frescoes by Borgognone. _Sta. Maria presso S. Celso_ adjoining the little Romanesque basilica of S. Celso, was built by Dolcebuono at the end of the fifteenth century, but altered and finished later. The ornate façade is of the later part of the sixteenth century. The cloister in front was probably designed by Cristoforo Solari. There are some pictures by important masters in the spacious and imposing interior. The lowest on the left-hand side is a characteristic work by Borgognone—Madonna, with St. Roch and St. John Baptist. Behind the choir there is a Madonna with St. Jerome, by Paris Bordone; the Baptism of Christ, by Gaudenzio Ferrari; and St. Paul, by Moretto. In the sacristy is preserved a very precious example of ninth century goldsmith’s work, a cross given by Louis the Pious to Milan, of exquisite workmanship and thickly set with gems. It has figures of the Emperor and Empress and the Carlovingian princes carved upon it. The treasure also includes a carved Cinquecento jug, once attributed to Cellini, and one or two other pieces of goldsmiths’ work. There are, besides, some beautiful embroidered vestments. S. Giorgio al Palazzo, in Via Torino, an old church completely transformed in recent centuries, contains in the third chapel on the right some fine frescoes by Luini, of the scenes of the Passion. The Crucifixion in the dome of the chapel is an impressive composition, quiet and harmonious in colour. S. Fedele, designed by Pellegrini in the latter part of the sixteenth century, and containing fine Cinquecento choir stalls—once in the destroyed church of S. Maria della Scala—St. Alessandro, of the seventeenth century, S. Carlo, built about a hundred years ago, all sumptuously decorated in the taste of their times, and other less important churches of the same style, have little artistic interest, and are, in any case, far outside the scope of our mediæval story. We must turn back to the best period of the Renaissance, and look at some palaces which still remain from that time.