ed in high relief did not, however, belong to the old cathedral,
but was brought here when the church of S. Agnese was destroyed. In
the south transept is the chapel of the Madonna del Sudore, where on
either side are two other sarcophagi of marble adorned with figures
and symbols. That on the right is said to be the tomb of S.
Barbatianus, confessor of Galla Placidia, and was originally in the
church of S. Lorenzo in Caesarea, whence it was brought to the
cathedral in the thirteenth century by the archbishop Bonifazio de'
Fieschi, whom Dante found in Purgatory among the gluttons:

"Bonifazio
che pasturo col rocco molte genti..."

He brought the sarcophagus to the cathedral for his own tomb and there
I suppose he was buried. The sarcophagus upon the left was likewise
used in 1321 as a tomb for himself by the archbishop, Rainaldo
Concoreggio. This, too, is sculptured with a bas-relief of Christ, a
nimbus round His head, a book in His hand, seated on a throne set on a
rock, out of which four rivers flow. With outstretched hand He gives a
crown to S. Paul, while S. Peter bearing a cross holds a crown, just
received, in his hand. The sculpture on the sarcophagus of S.
Barbatianus is ruder.

The high altar is of course modern, but within it is an ancient marble
sarcophagus of the sixth century, in which it is said the dust of nine
bishops of about that time lies.

But one noble thing remains here among all the modern trash to remind
us of all we have lost: the glorious processional cross of silver
called of S. Agnello. Yet even this, noble as it is, does not come to
us from Roman or Byzantine times it seems, but is rather a work of the
eleventh century.

In the midst of this great cross, upon one side, is the Blessed Virgin
praying, and upon the other Christ rising from the tomb. Upon the arms
of the cross, and the uprights, are forty medallions of saints, of
which three would seem to be archbishops. I say this beautiful and
precious thing comes to us from the eleventh century; but it has been
very much restored at various times and is now largely a work of the
sixteenth century. Dr. Ricci tells us that on the side where we see
the Madonna only the five medallions on the lower upright and the two
last of the upper are original; while upon that of the Risen Christ,
only the five medallions on the lower upright are untouched, all the
rest is restoration.

Beneath the eighteenth-century apse of the cathedral is the