This man was a sculptor and a painter, but it is uncertain whether he is the same person, as the Florentine sculptor Bastiano di Francesco, who, with Francesco di Giovanni, was employed to build the tomb of Pope Pius III. in S. Peter’s at Rome.[191] We do not know much about him, beyond the work which he did in the Duomo. In 1481, he assisted Guidoccio Cozzarelli, Benvenuto di Giovanni del Guasta, and Pellegrino di Mariano, in decorating the interior of the Cupola with sculpture and painting. We gather, that in 1484, he moved the beautiful tomb of Cardinal Petroni, by Tino di Camaino,[192] from its original place near the present Cappella del Voto, to its present lofty position, by the Cappella di S. Giovanni. To him, in the same and following years, are also due the carved festoons, monstrous cherub heads, and painting and gilding round the east window (_Occhio_) of the choir. Twice we hear of him in legal difficulties: once, as we have mentioned already, with Urbano da Cortona in 1471; and again in 1477, when a certain doctor of laws, one Prospero Poccio, complained to the Podestà, that Bastiano would not finish a picture for him, that he had contracted to do.[193] He appears to have lived in the Valle Piatta at Siena.[194] (Ill. XXIII.) [Illustration: ALINARI PHOTO.] [BY BASTIANO DI FRANCESCO. XXIII. THE STORY OF JEPHTHAH (No. 11)] 31. 1483. _Benvenuto di Giovanni del Guasta._ This versatile artist was the son, as we have seen, of a certain Giovanni di Meo del Guasta, a mason from San Quirico. He was born the 13th of September, 1436, and died about 1518. He married Jacopa, daughter of Tommaso da Cetona, by whom he had three daughters, and a son, Girolamo, also a clever artist. In 1466, we find him in company with Sano di Pietro, valuing the decorative work on two chests, made by a certain Francesco d’Andrea, for Ambrogio Spannocchi. In 1481–82, as we have already noted, he was employed on the decoration of the interior of the Cupola in the Duomo, where he painted thirty-five figures, for which he received a sum of 105 lire.[195] In the same year, he painted miniatures in the Antiphonaries, for the Duomo; one of which, the largest, represented “_the Giving of the Keys to S. Peter_,” for which he received 27 lire 14 soldi.[196] That he was much admired in his day as a painter, is evident from the number of notices still to be found of payments made to him for banners, bier-heads and pictures of various sorts, by Convents and Guilds. Many of these still exist, either in the Churches for which they were painted, or in the Picture Gallery.[197] In 1508, he was called as witness, in a lawsuit between Giovanni Battista di Bartolommeo Alberti and the heirs of Neroccio Landi, as to the price of an unfinished picture by that artist. From the two inventories of his property, made in 1491 and 1509, and the list of goods bequeathed by him to his son Girolamo, we gather that he