are also depictions of the prophets Isaiah and Jeremiah and four putti. This chapel, as a whole, has a great artistic value, especially with regard to the invoice of the painted characters. According to experts, it represents one of Lanino's masterpieces. Behind the main altar is a polyptych by Bernardino Luini from 1523 depicting the Madonna and Child, seven musician angels and four saints (John the Baptist, saint Peter, Magnus and Ambrose). This work is flanked by God the Father depicted in a tympanum. On the lower predella, inside the small vertical compartments, saint Luke and saint John, the Ecce homo, saint Matthew and saint Mark are depicted in dark light, while in the horizontal sections the Christ nailed is painted, again with the same technique the crucifixion of Jesus, the Pose in the Sepulcher, the Resurrection of Jesus and the supper at Emmaus. The side chapels The chapel of Peter of Verona, located near the entrance, was frescoed in 1556 by Evangelista Luini, son of Bernardino. They represented the martyrdom of saint Peter surrounded by God blessing (on the bezel) and some saints (on the pillars). Later these paintings were lost and were rebuilt between the 19th and 20th centuries by Beniamino and Gersam Turri. The large side chapel on the left is dedicated to the Holy Crucifix. It was frescoed in 1925 with some depictions of biblical scenes. The chapel contains a precious deposed wooden Christ, a crucifix and two papier-mâché statues depicting Our Lady of Sorrows and Mary Magdalene. The frescoes are from 1925. The chapel located on the opposite side, which is called dell'Assumption o dell'Immacolate, houses the aforementioned altarpiece by Giampietrino from 1490 and an 18th-century wooden statue of the Immaculate. The frescoes are from the 17th century and depict the Assumption of Mary and some saints. The chapel of saint Charles and saint Magnus, which is the third on the left, was instead frescoed in 1924 with the representation of various figures of putti. It contains a relic of saint Magnus and two 17th century paintings depicting saint Charles Borromeo. The stuccos are from the same period. The chapel of the Andito, which is opposite, was not decorated by almost any painting to give an idea of how unadorned the basilica was before the realization of the pictorial works of the early 20th century. The only fresco present is a 17th-century depiction of the