San Giovanni in Conca was a church in the center of Milan, northern Italy, dedicated to Saint John the Evangelist. It had a Paleochristian origin and went through a renovation in Romanesque style. In the 13th century, it became part of the private compound of the Visconti house and transformed into the private chapel of Bernabò Visconti and his wife Regina Della Scala, Lord and Lady of Milan. After their deaths, it housed their burial site. In the 19th and 20th centuries, it was downsized and finally demolished. Only the crypt and part of the apse have been preserved and are today visible in Piazza Missori. Fragments of the frescoes decorating the walls and the burial monuments of Bernabò and his wife have been preserved and transferred to the Sforza Castle Civic Museums (Museo d'Arte Antica). History Origins (5th–6th centuries) The initial church had Paleochristian origins, dating back to the 5th century, with a single nave on a rectangular plan, wide and about long. The early Christian origin was confirmed by the discovery in 1949 of a tomb along the wall of the first church, with frescoes on the external surface that go back to a period between the 5th and 6th centuries. The subsequent renovations do not seem to have changed the original perimeter of the initial church. Romanesque era (12th–13th centuries) In the second half of the 12th century, the church was almost demolished during the wars of Emperor Frederick Barbarossa against Milan and subsequently rebuilt in Romanesque style. The church internally assumed a three-aisled form covered with a gabled roof supported by exposed wooden trusses. The new presbytery and the apse elevated on a crypt supported by ten small columns. The painting of the Annunciation on the triumphal arch, partly preserved until the church's demolition, also belongs to the Romanesque period. Private church of the Visconti house (14th century) The church was transformed and embellished in the 14th century by Bernabò Visconti to convert it into a family mausoleum. He incorporated the church into the compound of the Visconti private buildings. The transept was transformed into an enclosed space, lighted by new windows on the two side walls. The church was decorated with a vast cycle of frescoes, probably painted in 1355–60, representing the stories of Saint John the Evangelist. A second cycle of frescoes, known from 16th-century sources, showed the brothers Bernabò and Galeazzo Visconti fulfilling