These works, executed in the same methods and with the same materials as those just described, retain far more of their original feeling and sentiment; and it is interesting to compare them with a similar set in the doorways of San Giovanni (the Baptistery), which represent the “Birth,” “Baptism,” and “Anointing of an Infant Christian.” In the first case we have, to the extreme right, the “Ordination of the Deacon;” next, that “of the Priest;” and, finally, that “of the Bishop.” In the other, to the extreme left, is the “Birth of the Child” (a composition curiously similar to that employed by many painters at this period for the Birth of St. John the Baptist): then “Its Baptism;” and lastly, “Its Anointing and Reception into the Church of Christ.” Of these three scenes, commenced in 1450 by a certain Bartolomeo di Mariano, called _Il Mandriano_, from designs made by one Nastagio di Guasparre; that in the centre, which we read was executed by Antonio Federighi (1451),[17] is very much the finest, although there is a certain similarity in general conception throughout. On further research, we find that a certain Guasparre, described as “_dipentore nostro_,” made a design for the space before the door for the then existing Porta del Perdono.[18] This design represented the “Consecration of the Duomo” in 1174,[19] and was executed by Corso di Bastiano of Florence. Now Guasparre d’Agostino, also designated as “_nostro dipentore_,“[20] about this same time painted certain scenes from the Life of S. Bernardino for the Sacristy of the Duomo, and also decorated the apse of the Baptistery with frescoes of the “Crucifixion and Burial of Christ.”[21] We may not unreasonably suppose that the above-mentioned Nastagio was his son or pupil, and that the father and son, or master and pupil, were associated together in all these similar works around the doors of the Cathedral and Baptistery. Unfortunately the work known to have been designed by Guasparre before the Porta del Perdono was, together with that entrance itself, ruthlessly destroyed in 1661, so that we have nothing certain remaining of his Pavement work upon which to start comparison. The force and charm, however, of the compositions, still existing before the Western Doorway of the Cathedral; show that they must have been executed from the designs of no mean or inferior draughtsman. We find also several references at this date,[22] to work done outside the Duomo by Bastiano di Corso, a Florentine, fine work by whom, as we shall see presently, still exists inside also; but it is not easy to identify the exact portion laid down by him and his son Corso, who, as we have seen above, was employed on the work before the Porta del Perdono.