[4] Over the centuries, the basilica hosted other sumptuous ceremonies and coronations, such as in February 1397, when Gian Galeazzo Visconti wanted to celebrate the diploma of the emperor Wenceslas in October 1396, with which the succession system of the Duchy of Milan was regulated, basing it on male primogeniture and for this the county of Pavia was created, reserved exclusively for the heir to the throne.

[6] During some works carried out in the basilica in 1968, precious silver artefacts of Ostrogothic manufacture were found underneath a tomb dated between the 11th and 12th centuries, now kept in the Pavia Civic Museums.

San Michele's transept, provided with a true façade, a false apse and a barrel vault, differs from the rest of the church and constitutes a nearly independent section of the edifice.

In the lunettes are angels which, according to a caption sculpted there, have the role of ambassadors of the faithful's words into heaven.Bronze doors, coloured mosaics, geometric designs, bronze pilasters.

Instead, according to Piero Sanpaolesi, who conducted the restoration work on the external facades in 1966-1968, the central nave was covered by two domes, hemispherical or low-mounted, on the model of Romanesque-Byzantine basilicas such as San Marco in Venice, set on spandrels whose remains are still present above the fifteenth-century cross vaults

In the transept there is a two meter high crucifix, coated in silver leaf and commissioned by the abbess of the monastery of Santa Maria Teodote Raingarda in the second half of the 10th century.

[11] Next to the altar in the crypt is the treasure of Saint Brice, a group of liturgical furnishings from the 12th century consisting of a thurible, a bronze bell, a silver-plated copper vessel with set glass, some wooden pyxes and fragments of fabric of silk and gold threads, found in 1402 in the church of San Martino Siccomario and brought in 1407 to the church of Santa Maria Capella in Pavia.

The processions of the monarch's enthronement began in the small square in front of the northern portal (Piazzetta Azzani), which overlooks the Via Francigena and originally connected the basilica to the Royal Palace.

Not surprisingly, the writing placed on the lintel of the portal invites you to pray to Christ for salvation using a term, vote, used in the Christian Middle Ages also for prayers addressed to the emperor's well-being.

The inscription in the center circle was added in the 19th century by the prominent philologist Tommaso Vallauri, a professor at the University of Turin:[13]Regibus Coronam Ferream Solemni Ritu Accepturis Heic Solium Positum Fuisse Vetus Opinio TestaturAt the end of the ceremony, the procession left the southern door (facing via Capsoni), the Porta Speciosa, where the Traditio Legis is depicted, also a representation of Gelasius I's doctrine of the separation of powers in the Christian world: that of the Church and that of the Empire.