Unable to use on the Pavement the brilliant pigments so lavishly employed in the paintings, the artist has introduced, wherever possible, marbles of many and varied colours; and when upon these multi-coloured materials are super-imposed most elaborate designs, the whole produces the effect of a gorgeous piece of bizarre jewellery. Herod sits on a splendid Renaissance throne of carved marble, in a colonnade, adorned with panels[72] of classical scenes. A sportive frieze of marble Bacchanals is introduced along the top of the composition, broken by circular windows, from which groups of impish children look down complacently and even laughingly, on the dreadful slaughter below. The armour of Herod and his soldiers is of the most magnificent kind, and we may notice again the artist’s affection for finishing a clasp with the head of an animal or a human being.[73] (Ill. XII.) It is evident from the style of this work that it is by Matteo di Giovanni Bartoli, and his authorship has never been questioned, though there is no record of any commission or payment to him. The date of its execution (1481) is fixed by Tizio,[74] and by two records of payments for materials used upon it.[75] [Illustration: ALINARI PHOTO.] [DESIGNED BY MATTEO DI GIOVANNI BARTOLI XIII. THE MASSACRE OF THE INNOCENTS] We have no record as to who executed the very charming frieze of _putti_ and dragons, which borders the bottom and the left side of this picture; nor that of greyhounds and fountains, which incloses the other sides, and it is not easy to suggest any reason why two such different designs should have been employed for the same picture. They are evidently designed by different hands, and were probably executed like the other friezes by the Cathedral workmen mentioned above. (Ill. XIII.) The whole work has been apparently restored several times; for we find in the notes of Abate Faluschi,[76] that it was restored in 1790 by Matteo Pini, after the designs of Carlo Amidei, and at this very day some of the worn-out stones are being renewed, and the line of drawing re-trepanned and stuccoed. The third picture in this transept is: _The Relief of Bethulia by Judith._ (Judith, cap. xiii., xiv., and xv.) (No. 25.) Whether this picture had any political or semi-political reference we do not know. The small fortress-towns in the Sienese contado were at this time continually being relieved and changing hands, but we cannot now identify this scene with any particular event. It is interesting, though, to note that it was planned during the Rectorship of Savino di Matteo di Guido Savino, who was, on January 26th, 1480, deposed from his post for being one of the “Riformatori.”[77] [Illustration: LOMBARDI PHOTO.] [DESIGNED BY URBANO DA CORTONA (?) OR MATTEO DI GIOVANNI BARTOLI (?) EXECUTED BY ANTONIO FEDERIGHI XIV. THE RELIEF OF BETHULIA (No. 25) (The entire panel)]