In a circular panel, David, as King, sits on a throne with a sort of zither on his knee, while, with his right hand, he points to an open book of Psalms, propped upon a lectern by his side. Around him stand four courtiers holding each a primitive musical instrument:--a small organ, a tambourine, a mandoline, and a viol. The whole picture is surrounded by a graceful cornice of leaves. On either side of the central picture, in a lozenge-shaped space, is a single figure; on the one side is the youth David slinging his stone, and upon the other the giant Goliath falling backwards. It is curious that Goliath has a hole in his forehead, although the stone has not reached him; while, at the same time, the stone is both still in David’s sling and in the air above Goliath. The figures in the central composition are fine, but much altered by restoration. Those of David and Goliath are more original, and have probably suffered less. These designs are undoubtedly the work of Domenico del Coro, executed during the Rectorship of Bartolommeo Cecchi: and the cornice and frieze work around them is that of Agostino da Niccolo, for we read special notice of this fact in a memorandum of payment to the latter, dated June 6th, 1423.[121] Below another step we come to the largest and most pretentious of Beccafumi’s designs. _Moses’ Ascent of Mount Sinai, his Receipt of the Tables of the Law, and the Idolatry of the Children of Israel_ (No. 52). (Ill. XXV.) The story is told in six parts, combined into one large picture. Above, in the centre, Moses kneels on the mountain top (α). The light of Heaven streams over him, and he receives the Tables of the Law into his outstretched hands. Below in the centre he lifts the Tables over his head, to dash them to pieces on the ground (δ). In the upper _left_-hand corner, the Elders of Israel are seen persuading Aaron, who points to Moses on the mountain, to make the Golden Calf (β): in the lower, we see him casting their gold and jewels into the fire to make it (θ). In the lower _right_-hand corner the Israelites are worshipping the Calf (η), while above they are smitten with plague and dying in agony (γ). This work appears to have been originally commissioned by a certain Antonio d’Agostino del Vescovo, then Rector (1524);[122] but, as we read from an inscription let into the beautiful frieze that surrounds it, it was completed under the direction of his successor, Francesco di Carlo Tolomei. Beccafumi received on the 30th of August, 1531, 120 scudi for these designs,[123] according to a valuation made for Tolomei by Baldassare Peruzzi himself;[124] which suggests the idea that these two great artists may have together planned the new arrangements of the Choir, and a scheme of decoration to adorn it, when complete. From Landi and Faluschi we learn that the workmen here employed[125] were the same Bernardino di Giacomo, who now received for his work 969 scudi 13: Giacomo di Pietro Gallo, 133 sc. 6.8;