entirely to low tones of colour, which shade from one into the other; and produces his effects by a species of _chiaroscuro_. Instead of outlining each piece, or figure, in a single colour, he frequently uses, on the same subject, white and two or three different shades of pale-coloured grey marble."[83] Just within the great doorway are the sepulchral stones of two of the Sienese nobles who fell at Montaperti: Giovanni Ugurghieri and Andrea Beccarini. The delicately worked Corinthian columns supporting the tribune, the bas-reliefs (by Urbano da Cortona) round their pedestals representing scenes from the life of the Blessed Virgin, are of 1483. The stained-glass window over the portal, representing the Last Supper, was designed by Raphael's famous pupil, Perino del Vaga, and executed by Pastorino Pastorini in 1549. The basins for Holy Water--perhaps the most beautiful things of their kind in existence--are by Antonio Federighi; the pedestal of the one on the right is supposed to be a real antique from an altar dedicated to Neptune. Near the side-doors are statues of two of Siena's seven popes; Paul V. (Camillo Borghesi), who pontificated from 1605 to 1621, noted for his quarrel with Venice and for his extravagant ultramontanism; Marcellus II. (Marcello Cervini), a saintly man who held the papacy for a few weeks in 1555, and to whose memory Palestrina dedicated his famous Mass. At the end of the right aisle, over the door of the Campanile, is the tomb of Tommaso Piccolomini, Bishop of Pienza, who died in 1483, by Neroccio; below it, three on each side, are bas-reliefs by Urbano da Cortona, representing scenes from the lives of the Madonna and her parents; that of Joachim among the shepherds is full of pastoral charm. The _Cappella del Voto_, in the right transept, glowing with lapislazuli and gold, was built in 1661 by Cardinal Fabio Chigi, to enshrine the miraculous Madonna--the _Madonna delle Grazie_--to which the Sienese had paid their vows in the days of Montaperti, and which is still credited with wonderful powers. The superbly modelled Magdalene and Jerome, by Bernini, the great Roman sculptor of the seventeenth century, are strongly characteristic of that master's exaggerated and emotional, but undeniably powerful style. Further on in the transept, Siena's first and latest pope face each other; Alexander III., the Orlando Bandinelli, so frequently mentioned, and Alexander VII., the above-named Fabio Chigi, who reigned from 1665 to 1667, a good, easy man, who loved letters, and of whom the Venetian envoy wrote that "he had merely the name of a pope, not the substantial power of the papacy." In the Chapel of the Blessed Sacrament, let into the wall, are reliefs of St Paul and the four Evangelists, by Giovanni da Imola and Giovanni di Turino.