Sala III.—Fourteenth century sculpture by the Campionese masters. Here is the great sepulchral monument of Bernabò Visconte, with an equestrian statue of him on the top, executed in his lifetime, probably by Bonino da Campione, the sculptor of the tomb of Cansignorio at Verona, which it resembles in style. In the reliefs the Pisan traditions of Giovanni da Balduccio are followed, but with the inferior ability and the heaviness and rigidity of the local school, and modified also by a tendency towards realistic expression and elaboration of the draperies, which develops later into the mannerism of the fifteenth century Lombards. The smaller monument of Bernabò’s wife, Regina della Scala, is by the same school. The Dead Christ upon the front is, however, a more artistic piece of work than the same subject on Bernabò’s tomb. The droop of the head and fall of the arms is expressed with truth and feeling, and the figures of Luke and John are excellent in their dignity and simplicity. The vaulted roof of this room is decorated with a fifteenth century fresco of the Resurrection by an inferior Lombard painter, and with the arms and initials of Galeazzo Maria Sforza. Sala IV.—Works of the Campionese masters, among them the groups of Madonna and Saints, once upon the old Porta Orientale and Porta Romana. In the cortile is set up the magnificent marble portal of the palace built by Pigello Portinari in the reign of Francesco Sforza, to accommodate the Medicean Bank, and not long since pulled down. This beautifully proportioned doorway is attributed to Michelozzo. In the spandrils are profile busts of Duke Francesco and Bianca Maria. The heavy figures on the outer sides of the door are additions by some Lombard sculptor. Sala V. consists of the upper half of the old ducal chapel. It still preserves, in much damaged condition, the ceiling fresco of God the Father in a blue sky with golden stars, which Galeazzo Maria commanded to be painted, and for which there was great competition between the court artists. It was finally done, in part at least, by Bonifazio Bembo, Stefano de’ Fedeli and Gio. Montorfano. A Resurrection is also dimly visible, and beneath the vaulting the Virgin and Angel of the Annunciation, with Saints half obliterated on the walls below. The room contains sculpture of the early fifteenth century, and an exquisite Renaissance doorway at the head of the room, and another from the palace of Ippolita Sforza in Piazza S. Giovanni in Conca, at the entrance into Sala X. Sala VI.—The old Sala delle Asse—at present empty—has a grand ceiling decoration, purporting to be a restoration of the decoration done by Leonardo in this room for Lodovico il Moro, of which some supposed traces were discovered here.