On the side-walls are four other scenes, two to each wall, and each is divided off by the cornice that forms the impost of the arch upon which rests the groined vaulting of the chapel. In one is S. Helen causing the Holy Cross and the two others to be drawn up from a well; and in the second is that of the Saviour healing a sick man. Of the pictures below, in that on the right hand is the same S. Helen recognizing the Cross of Christ because it restores to life a corpse upon which it is laid; to the nude flesh of which corpse Daniello devoted extraordinary pains, searching out all the muscles and seeking to render correctly all the parts of the body, as he also did in those who are placing the Cross upon it, and in the bystanders, who are all struck with amazement by the sight of that miracle. And, in addition, there is a bier of bizarre shape painted with much diligence, with a skeleton embracing it, executed with great care and with beautiful invention. In the other picture, which is opposite to the first, he painted the Emperor Heraclius walking barefoot and in his shirt, and carrying the Cross of Christ through the gate of Rome, with men, women, and children kneeling, who are adoring it, many lords in his train, and a groom who is holding his horse. Below each scene, forming a kind of base, are two most beautiful women in chiaroscuro, painted in imitation of marble, who appear to be supporting those scenes. And under the first arch, on the front side, he painted on the flat surface, standing upright, two figures as large as life, a S. Francesco di Paola, the head of the Order that administers the above-named church, and a S. Jerome robed as a Cardinal, which are two very good figures, even as are those of the whole work, which Daniello executed in seven years, with incalculable labour and study.