The sixteenth-century source, nevertheless, may suggest that Berardo's tomb had already been begun during the last years of his lordship in Brescia (thus in the time span 1303-1308);[14][15] still following what is said in the Chronicus the sepulchral ark, in the light of the bishop's death in 1308, would have been completed under his brother's directives, as already pointed out above.

[13][18] In light of this, the funeral monument, from its original and unknown location, was moved, elevated and in all probability walled up near the chapel of the Sante Croci,[12][note 3] as reported by Baldassarre Zamboni, archpriest of Calvisano.

[19] Also according to the latter's testimony, the ark would have been fixed in the wall of the left transept (perhaps placed on the tympanum of a door, which in turn communicated with the corridor through which the adjacent basilica of San Pietro de Dom could be reached).

[35] There has already been extensive discussion of the possible placements that the ark had over the centuries in the old cathedral; however, based also on the Arcioni papers preserved in the museum of Santa Giulia, it can be deduced that, before being placed at the entrance to the place of worship, the funerary monument rested on a stone or marble entablature in the northwest area of the chapel of the Sante Croci, at the height of the tympanum of the adjacent door:[36] based on this version, therefore, the sarcophagus was simply at the height of the top of the passageway (and not necessarily above it), as recorded by all previous sources called into question,[25] including the testimony of Baldassarre Zamboni.

[37] He was able to carry out well-targeted interventions aimed at the arrangement of the place of worship, such as, for example, razing the cathedral's interior roofing, reconstructing the original lowered Romanesque double-entrance: he also remarked the position of the pillars by covering them and also highlighting the floor of the ambulatory; he unearthed the ancient crypt of St. Philastrius, which had been sealed up until then and used as a mass grave, reconstructing its entrances; he rediscovered, among other things, the foundations of the previous cathedral, the basilica of Santa Maria Maggiore de Dom, marking its perimeter in the pavement by the use of darker stones and also uncovering some of its floor mosaics.

[62][63] From left to right, this is how the complex procession is articulated: The Peace's iconographic and figurative choices recall ancient sarcophagi in a certain way, alluding also - in the tripartite array of characters - to the structure of the miniatures in Carolingian Bibles.

[71] With the aforementioned types of subjects and figurative modes, the desire to remember Berardo as a peacemaker, a grantor of laws and therefore of Peace clearly shines through: all aimed at recalling the very ancient iconography, of early Christian memory, of the reading of a sententia; the context, then, is further reinforced by the presence of Peter and Paul, eponymous saints of the other Brescian cathedral of the time.

[54] Lying and stretched out on the latter is Maggi's body, watched over at the four corners by the apocalyptic symbols of the evangelists:[72][73] whether seated or kneeling, such figures are characterized by a noteworthy formal refinement, both in their postures and in the various attitudes each one displays.

[note 12] Moreover, the scene of the funeral procession, opened and closed by a module of clerics with processional cross and candelabra, suggests a circular, ring-like structure, which symbolically alludes to the Rotonda, Brescia's urban matrix.

[75] The dense iconographic apparatus of this flap, then, seems to imbue on the whole a highly sophisticated and refined symbolic language, all the more so because it is closely related to the other side of the lid: the physical space in which the funeral scene takes place, in all probability, can be identified as the chancel, in front of the apsidal basin and the high altar; this scenario is in fact reported at the same height in the other effigy, where the peace scene is depicted, signifying an iconographic language of the highest refinement that unites two opposite depictions, at the same time linked together.

[75][81] This clear correlation along with the contrast echoes the all-encompassing image of Maggi, who was in fact able to synthesize the figures of spiritual and temporal leadership equally;[82] the two flaps of the lid, in this sense, brilliantly express the dual nature of Berardo's lordship, who was both bishop and lord of Brescia.

[83] Placement of tombstones: preferably on pillars in light [...] Maggi monument: isolated[...] the magnificent monument of Berardo Maggi, bishop and prince of Brescia, was transported from the Rotonda, where it had been at the time of his death, to the site of the Chapel of the Sante Croci, where it still stands presently [...] the ark still lies in the Chapel of the Sante Croci, above the door that once led to the church of San Pietro[...] Brunati [perhaps Benedetto] had the beautiful picture we bring you [referring to the illustration of the ark in the text] removed from the wall that completely enclosed it.