The work was stopped for a time, but fortunately for Pintoricchio and for posterity the contract had contained a clause binding the Cardinal "in his goods and heirs," as well as personally, to carry out the agreement. The Pontiff had also ratified this in his will, and his two brothers, acting as his executors, prepared to carry out his wishes. Some unavoidable delay there was, and during this time Pintoricchio, being absolved for the time being from the promise to take no other commissions, applied himself to various works for rather more than a year. The chief among these was the decoration of the beautiful little chapel dedicated to St. John the Baptist in the cathedral at Siena. Its frescoes were the gift of Alberto Aringhieri, a Knight of Rhodes, who has had his portrait as a young man painted on one side of the door and in advancing years on the other. The other frescoes have been entirely repainted, excepting the one of the "Birth of St. John," and on this, which has been much retouched, it is so evident that two hands have worked that I do not believe Pintoricchio himself painted any part except the maid, and possibly the Infant. The maid is drawn with a much stronger and more precise touch than any of the rest, and instead of the veil or drapery with which he usually covers the heads of his sacred personages, she has an Italian dress and headgear, with loops and bows. The same model has served for her face and head as for the "St. Catherine" in the National Gallery, and apparently both are from life. The interest of the chapel centres in the two portraits of the donor, and both these go to increase the painter's reputation. The young knight keeping his vigil, in full panoply, his plumed helm and steel gauntlets lying by his side, the great white cross of St. John of Jerusalem upon his crimson surcoat, is a creation full of chivalrous fancy. The old knight, kneeling opposite, in a dress of a dignitary of the cathedral, and a black skull cap, is a strong, well-drawn figure, well felt under the robes. Both are small in size and reserved in treatment. The backgrounds are full of detail, with buildings, meant to be Eastern, and palm trees. The colour of the figures is very harmonious--the soft greys of the armour, and the dull red of the scarf against it; all the links of the chain mail executed with the dainty care of a miniature. In both frescoes the light and dark are massed with unusual judgment. This was paid for September 8th, 1504.