[Illustration: ALINARI PHOTO.] [DESIGNED BY BENVENUTO DI GIOVANNI DEL GUASTA X. THE EXPULSION OF HEROD] The composition is most graceful and full of force. It illustrates an episode in the struggle between Herod Antipas and his brother-in-law Aretas, as a result of which the former had to evacuate his kingdom. The picture has been well restored, a re-engraving of the marble slabs on the old lines having been, to a large extent, sufficient for the main work, though the frieze has had to be entirely renewed. A group of soldiers, among whom is one extremely striking man’s figure in full armour, has been particularly successful. Over this group, in a high tree, an eagle maybe seen protecting her nest of young ones from the attacks of a serpent, possibly alluding to the same political events referred to above. The charming cherubs, supporting a tablet in the upper part of the composition, upon which is engraved a long quotation from Josephus, describing the scene depicted, have been renewed, and the damaged originals transported to the Museum of the Opera.[67] With them is also the original tablet, which curiously enough on removal was found to be a memorial slab of an earlier date, bearing on the reverse side a fine effigy of a cleric.[68] The last restoration of this design took place between the years 1869–1878 and, together with the Pavement around it, cost 2,156 lire 63 c.; while that of the friezes, around this and the next design, cost another 3,490 lire 12 c. [Illustration: ALINARI PHOTO.] [DESIGNED BY BASTIANO DI FRANCESCO XI. DETAIL OF THE FRIEZE OF LIONS] Beyond this fine scene we come to another, still more remarkable, if not quite so pleasing. _The Massacre of the Innocents_ (No. 26).