The notices as to this work are few and vague: but we know from Tizio[78] that it was laid down in 1473, and further that the frieze of “reels” (_naspatoio_), surrounding it, was executed by Urbano di Pietro da Cortona, Giovanni di Stefano di Giovanni, Bartolomeo di Domenico Calabrone and Francesco di Bartolomeo (perhaps his son).[79] It is generally supposed that the design itself was the work either of Urbano da Cortona or of Matteo di Giovanni Bartoli, and the execution is attributed to Antonio Federighi.[80] (Ill. XIV.) However this may be, it is a work full of charm, recalling examples of the most poetic period of Florentine art. As usual in work of this period, several episodes of the story are told in various parts of the picture. On the extreme right, now much injured, and partly obliterated by the Pisani’s pulpit, we can still trace Holofernes’ tent, and the gruesome tragedy therein enacted. Above the middle of the picture, over the hillside, upon which bloom myriad flowers amid purling brooks, comes Judith, a figure of extreme grace, followed by her maid, who bears on her head a basket, containing the tyrant’s head.[81] (Ill. XV.) To the left is the towered city of Bethulia, from which issue troops of horsemen, intent upon victory in the fight, which is depicted in the centre of the composition. Beside the gate of the city, one may notice a group of a knight with his squire arranging the harness of his horse. (Ill. XVI.) We may also remark the introduction here of birds. In the extreme left corner are two parent birds, sitting in a bush, guarding their young ones in a nest, whilst above Holofernes’ tent are perched two waiting ravens. [Illustration: ALINARI PHOTO.] XV. DETAIL FROM THE RELIEF OF BETHULIA] This work was also restored, or, as Abate Faluschi puts it with much truth, “modernized” (_modernata_) by Carlo Amidei and Matteo Pini in 1790, so that we cannot now know how much of the original work has perished. It is not unlikely that, in any case, it may have been a composite design from the hand of more than one artist. It is, however, worth noting that, whereas the design last described depends largely for its effect on varied colour, this one, the _Expulsion of Herod_, and the other contemporary picture of the _Story of Jephthah_, presently to be described, show how much can be done by the use of line alone. [Illustration: ALINARI PHOTO.] XVI. DETAIL FROM THE RELIEF OF BETHULIA] Ascending a wide step, we come to a work of much older and more archaic character, which I propose to include in my seventh division. 7. THE CHOIR AMBULATORY. _The Story of Joshua’s Victory over the Amorites_ (No. 22), _and the Slaughter of the Five Kings_.