This, perhaps, is the most striking of all the scenes on the Pavement, and as interesting historically as artistically. The artist who designed it, Matteo di Giovanni Bartoli, has thrown into it all the force of his fancy and skill. It is extraordinarily full of life, and vivid with imagination. The same artist executed certainly three, if not four, more designs of the same subject, two of them being pictures still existing in Siena itself;[69] and it is extremely interesting to compare his treatment of it in all these three. Authorities differ as to the dates of these two paintings, but admittedly there was an interval of ten years between them. That in S. Agostino, and most probably also the very similar painting by the same artist at Naples, come in point of date almost immediately subsequent to this design for the Pavement, and resemble it very closely. At this period all Italy was convulsed with horror at the awful Sack and Destruction of Otranto, which had occurred on the 11th of August, 1480.[70] We read that 1,200 persons were massacred, and that most of the children were sold as slaves. The shock to the Christian world was so terrible that the Pope, Sixtus IV., in an Encyclical addressed to all the cities of Italy, called their attention to the disaster, pointed out to them that none of them, however remote, was safe, and implored them, setting aside their party divisions, to combine in the cause of mutual protection against the Moslem. Alfonso, Duke of Calabria, son of Ferdinand, King of Naples, then living as ruler in Siena, was hastily recalled to take command of an expedition against the common enemy: and it is, I submit, not straining a theory too far, to suppose, that Matteo di Giovanni may have been directed to design these scenes on the Pavement of the Duomo, for the Church of S. Agostino, and for the Church of Sta. Caterina a Formello at Naples, as an object lesson to recall to the public mind, through the medium of a Scriptural Tragedy, the horrors to be endured at the hands of the unspeakable Turk. They are all executed with a force and a suggestiveness, so vivid as to be painful in their intensity. The successful results of these three probably inspired the fourth,[71] which is somewhat less ferocious, and certainly more graceful and pleasing. [Illustration: LOMBARDI PHOTO.] [DESIGNED BY MATTEO DI GIOVANNI BARTOLI XII. THE MASSACRE OF THE INNOCENTS (No. 26) (The entire panel)]