found under the marble pavement. The choirs stalls, which are located inside the main chapel, were built in the 17th century in walnut wood by the Coiro brothers, or by the same carvers who carved the aforementioned small temple with a tabernacle in the sacristy. The choir stalls, which are of fine artistic workmanship, have a Renaissance style. With the changes that took place in the first part of the 20th century, the ancient stalls of the choir of the basilica lost that austerity that was typical of the Renaissance period. The platform built in the first part of the 20th century, however, concealed part of the frescoes on the walls, in particular the scenes of the Visit of the Magi and the Return of the family of Jesus to Nazareth, and therefore in 1968 a new platform was built, this time lower, which solved the problem. The organ of the basilica was built in 1542 by the Antegnati family thanks to the testamentary bequest of Francesco Lampugnani, who donated 25 liras to the parish of San Magno for the realization of the musical instrument and 16 liras for its positioning. The choir in walnut wood is instead the work of the painter Gersam Turri. It was placed in its current position in 1640 and it was restored on two occasions (one in the 19th century and the other in the 20th century). The organ of the basilica of San Magno, which is older than the one preserved in the Duomo of Milan, is perhaps the only pipe instrument manufactured by the Antegnati family that has come down to us practically intact. According to many music experts, the organ of the basilica of San Magno is an excellent instrument, above all for the sweetness and sonority of the chords. The vault of the church The first decorative work carried out in the basilica was carried out in 1515 by Gian Giacomo Lampugnani, who frescoed the grotesque church vault. Accompanied by the wise internal natural lighting originating from the side openings of the vault, which allow a calibrated luminosity at any time of day, the overall effect is of absolute importance, so much so that even the art historian Eugène Müntz, who defined this decoration "the most beautiful grotesque in Lombardy". The vault is divided into eight segments within which the large candelabra are frescoed from which branches, starting from the