In the background on the left, the same white figure is being hurried to execution by guards in the dress of the fifteenth century, while Daniel, mounted on a white horse and holding a sceptre, intervenes in her favour. On the other side, the elders, bound to a tree, are stoned to death, even a little figure of a child casting stones at them. These figures show a great deal of animated action and good drawing and modelling, and are full of life and spirit. Behind is a landscape in the well-known style of Pintoricchio--the whole strongly recalling the work of Fiorenzo. Bernardino here is in his most idyllic and fairy-tale vein, and nowhere is the painting more finished; but the very great care of detail, carried into the most distant part, gives too great an importance to accessories, and damages the unity of the whole, showing him less as a great composer than a decorator. In the next fresco, Santa Barbara escapes from the tower in which she had been imprisoned by her cruel father, and in which she had built three windows in honour of the Trinity. On the left of the tower we see the great rent made by a miracle, through which she escaped. The father, armed with a scimitar, and shielding his eyes with his hand, is anxiously searching for her in the wrong direction. He is accompanied by two armed followers, one of whom catches sight of her, and, suddenly converted, looks longingly after her. In the background the saint escapes in company with Santa Giulia, and on the right her father is asking for news from a shepherd, who, for betraying that he has seen her, is turned into a marble pillar and painted white to convey this idea. Santa Barbara herself is a naïve and charming figure, gracefully posed, with flying draperies and long fair hair circled with pearls. Her streaming locks and blowing draperies give the impression of flight and movement very successfully. The whole effect is gay and fanciful. The saint, her little fair face turned up, her hands clasped, might be a fairy princess, escaping from an enchanted castle, over a sward carpeted with blossoms. She makes a bright figure in effective contrast to the white-robed Susanna.