Nothern span 3

The northern lateral door is named Porta della rana (Door of the frog) for a particular sculpture of the external door. 

It is dated 1507 and decorated with reliefs in the inner part too, where we can read the signature of Tommaso and Giacomo Rodari

The internal door presents along the pilasters angels holding symbols of the Passion. Above there is the frieze with the Triumph of Baby Jesus. In the triangular tympanum a sarcophagus is carved. At the top the statue of the Risen Christ emerges. If we descend again to the abutments we can see, among candelabra motifs, pagan themes on which BabyJesus triumphs.

The plaque to the right of the door recalls the bequest of Celeo Cattaneo which allowed them to complete the spires of the cathedral at the end of the 19th century. 

The sarcophagus of Bishop  Giovanni de Advocatis who died in 1293, comes from the chapel of St. Giovanni already in S. Maria Maggiore, the previous cathedral. The sculpted images allude to the role of bishop and his family: the Three pike, fish typical of Lake Como, declare that the family was a branch of the Lucini family, but also recall the ancient Christological symbol of the fish, together with the mystical lamb.

Above there is the humanistic funeral monument to Benedetto Giovio, the first historian of Como, brother of the more famous Paolo Giovio. It was dedicated to him by his family in 1556. 

The stained-glass windows by Pompeo Bertini with the Rest during the flight into Egypt, the Disputation with the doctors of the temple (1894) were a gift of Giovanni Perlascva. 

The tapestry with the Pentecost offered by the Consorzio dei Battilana di Como was created by  Guasparri Papini on cartoon by Alessandro Allori in Florence in 1595-1596.

The frame of the window has three squares for each abutment with candelabra motifs, in the splay there are panels with rosettes.

On the portal the corners of the tympanum there are the statues of St. Peter apostle on the right and on the left that of St. Apollonia, with the tongs that pulled out her teeth. 

In the nearby chapels the ancient altars were devoted to St. Apollonia and to St. Peter.

St. Peter is depicted whit keys and book in the keystone too. 

The altar-piece was a small painted board till 1590, then a Renaissance canvas with the Pentecost, now in the Museum, canvas painted on either side because its was originally a banner attributed to Bartolomeo  from Ponte Tresa.