There are also in this gallery: St Paul enthroned, his conversion and martyrdom being seen in the background, by Beccafumi; St Jerome, by Giovanni di Paolo; the legend of the Finding of the Cross by St Helena and its recovery from the Persians by Heraclius, by Pietro Lorenzetti; four Saints (69, 70, 72, 73) by Ambrogio Lorenzetti; a predella by Matteo di Giovanni; the Nativity of the Blessed Virgin (63), an admirable picture by Pietro Lorenzetti, signed and dated 1342; a Madonna and Child with Saints (64), by Matteo di Giovanni; St Antony of Padua (14), by Matteo Balducci; the apparition of St Francis to St Antony (62), by Giovanni di Paolo; nine scenes illustrating the _Credo_, by Taddeo di Bartolo; a quaint _Madonna lactante_, with Angel Musicians (59), by Gregorio da Siena, of 1323. Here also is preserved the episcopal ring of Pius II. In the further portion of the hall are embroidered vestments and other articles of church furniture. A door at the end admits you into the unfinished façade. A series of narrow winding stairs leads up to the very top of it, with a superb view of Siena and the country round. [Illustration: STEPS BESIDE THE BAPTISTERY] Under the Duomo to the east is the Baptistery, San Giovanni di Siena, a construction of the same epoch as the Cathedral itself. The façade was begun in 1317, modified in 1382 from the design of Giacomo di Mino del Pellicciaio, but left unfinished. On the pavement in front of the three doors are three scenes in _graffito_ representing the birth of a child, the sacrament of Baptism, the administration of Confirmation; they were laid down in the middle of the fifteenth century, the one in the centre (the Baptism) being designed and executed by Antonio Federighi. The interior has been completely restored. The Baptismal Font, which includes a tabernacle for preserving the holy oils, is one of the earliest masterpieces of the sculptural art of the Quattrocento, showing, in its architectural details, the transition from the Gothic to the style of the early Renaissance. The design of the whole is due to Giacomo della Quercia, the marble work being executed by his pupils. On the six sides of the font are six bronze bas-reliefs, representing scenes in the life of the Baptist, separated by six niches enshrining bronze figures of the Virtues. In 1417 the _Operaio_ of the Duomo assigned two of these six bas-reliefs to Giacomo della Quercia, two to Turino di Sano and his son Giovanni, two to the great Florentine Lorenzo Ghiberti--the fame of whose nearly completed bronze door (the first of the two that he cast) was then ringing through Tuscany. Giacomo della Quercia showing himself tardy and preoccupied as usual with other commissions, one of his two histories was assigned to Donatello instead, in 1421. By 1427 the series was complete, and the Signoria forced Giacomo to return from Bologna, at the instance of the authorities of the Duomo, in the following year to bring the whole work to an end,