Then appears that great craftsman, Antonio Federighi, whose graceful “Ages of Man,” No. 6, would alone entitle him to take a high rank in the History of Art. The works of Art left by this artist here and elsewhere are many, and of a very varied description; but we must now pass on to perhaps the most interesting and prolific period in the History of the Duomo, during which the floor was by no means left uncared for. The City of Siena outside was a prey to constant faction and civil disturbance, but her Duomo within, under the fostering care and taste of the noble Alberto Aringhieri, Knight of Rhodes and Malta, Rettore from 1481–1498, was steadily growing in beauty and splendour. I cannot here enumerate all the embellishments added during this period to the fabric, though among them I may name the decoration of the interior of the Cupola: the adornment of the Chapel of S. Giovanni, where may still be seen Pinturicchio’s beautiful portraits of Aringhieri himself in youth and age: and the frieze of Papal busts that runs round the entire building. Aringhieri collected around him a band of artists, eminent already as painters and sculptors; among whom was Federighi himself. From the designs and with the skill of these, he completed the floor of the North and South Transepts; both the Aisles and the last bay of the Nave. Whether, as is possible, he was influenced in his choice of subjects by external historical events, we cannot now say; but some at least of the designs, while appropriate to the general idea of the whole, appear to have a possible political significance. Thus the “Massacre of the Innocents,” No. 26, designed by Matteo di Giovanni Bartoli, may have been chosen to commemorate the terrifying episodes that occurred during the Sack of Otranto by the Turks; and the Expulsion of Herod, No. 27, the Fall of Pandolfo Petrucci and his faction. Whether this was so or not, the works of this period are among the finest and noblest designs on the entire floor. The later work of Beccafumi may be more realistic, but nothing can surpass the force and feeling of power exhibited in the fourteen designs, which date their origin from this period. In 1505–6 was added Pinturicchio’s “Allegory of Fortune,” No. 36; and shortly after an important change in the interior arrangement of the building, by exposing a great deal of floor space, necessitated the addition of a large number of fresh designs, which Domenico Beccafumi (_il Mecarino_) called upon to supply. This change was the removal, under the direction of Baldassare Peruzzi, Capo-maestro in 1532, of the High Altar, which had hitherto stood under the Cupola, to their present position, further east in the Apse.