bottom, are unwound. Inside this drawing the windows of the dome open. The painting is then completed with the representation of centaurs, dolphins, eagles, satyrs, sea horses, harpies, winged putti and dragons, whose dominant colors are white and gray in chiaroscuro. The blue of the background was made using a lapis lazuli powder dye. Just below the dome there is an octagonal tholobate which is frescoed with a softer shade than that of the vault: this is the opposite of what is generally done in the decorations of contemporary churches in the basilica, which are instead characterized by stronger colors in the lower parts and more tenuous in the upper architectural sections. The tholobate is characterized by the presence of twenty-four niches which are internally painted with a gray shade and with a rather dark blue color, which brings out the penumbra originating from the recesses: on the pillars of the drum are represented candelabras, which take up the decoration of the vault. In 1923 Gersam Turri painted in the spandrels, in the spaces between the major arches and in the capitals, twelve roundels, one in each architectural element, containing the faces as many biblical prophets (from left and right, starting from the arch located at the chapel of the Blessed Sacrament and of the outward, Joel, Daniel, Jonah, Obadiah, Amos, Haggai, Habakkuk, Zephaniah, Ezekiel, Micah, Zechariah, and Malachi), which were added to the four prophets previously painted: Jeremiah and Isaiah, which are above the major chapel and which were presumably made by Bernardino Lanino; Solomon and David, painted by the Lampugnani brothers above the arch of the chapel of the Holy Crucifix. This cycle of paintings was made by Turri inspired by the frescoes in the main chapel, which are the work of Lanino. The pilasters were decorated, again by Gersam Turri in 1923, with candelabra on a blue background: these decorations also resume the frescoing of the vault. The sub-arches are embellished with paintings depicting the Greek. The pilasters, before the frescoes by Gersam Turri, were all decorated with gray stripes and squares: the same gray color was also characteristic of the spandrels then painted in 1923. The main chapel The vault and walls of the main chapel were painted by Bernardino Lanino presumably between 1562 and 1564, at the height of his artistic maturity, thanks to the economic contribution of the Lampugnani family. The work of the