The third picture in this transept is:
The Relief of Bethulia by Judith. (Judith, cap. xiii., xiv., and xv.) (No. 25.)
Whether this picture had any political or semi-political reference we do not know. The small fortress-towns in the Sienese contado were at this time continually being relieved and changing hands, but we cannot now identify this scene with any particular event. It is interesting, though, to note that it was planned during the Rectorship of Savino di Matteo di Guido Savino, who was, on January 26th, 1480, deposed from his post for being one of the “Riformatori.”[77]
LOMBARDI PHOTO.]
[DESIGNED BY URBANO DA CORTONA (?) OR MATTEO DI GIOVANNI BARTOLI (?)
EXECUTED BY ANTONIO FEDERIGHI
XIV. THE RELIEF OF BETHULIA (No. 25)
(The entire panel)
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.