In the fresco of "San Bernardino upon his Bier," the radiating marbles of the great Piazza stretch away to a Bramante-like temple, arch soaring above arch; flanking the ancestral dwelling of the donor of the chapel, with the buffalo's head carved above the doorway, and a quaint little scene of a buffalo assaulting the populace on the Piazza. In the foreground stands the bier, upon which, with outstretched feet and folded hands, lies the emaciated figure of the whilom gay young noble of Siena who left all to follow Christ. Round him gather the monks of the order, beggars, women and children. Down from the long _loggia_ on the left, with the blue and gold decoration copied from Fiorenzo, comes the stately figure in cap and gown of Messer Avocato Lodovico Buffalini himself, face keen, precise yet gentle, figure conscious of position, and the rustle of silken robes, observant too of the young sons, the youth and the boy, who also in robes and close caps upon flowing hair, stand on the opposite side of the bier. In the foreground Pintoricchio has broken the monotony of the rich dark green bier by two of his most charming little children with rounded limbs and gestures half saintly, half childish, while by them lies something stuck in as an afterthought, without meaning, without perspective, a babe in swaddling clothes in a sort of crib or basket. This is the miraculous _bambino_ of Ara Cœli, the Byzantine doll preserved in the church, which could by no means be left out on such an occasion. The effect of ærial space about the whole composition is very remarkable. The people gather round, life beyond goes its way, and the whole is set in so peaceful and spirit-lifting an environment that it does not need the little sky episode of the saint received into glory to give it spirituality.