pyramids of Cestius and Romulus, and due to their slender, elongated form (the ratio to height to width in Santa Maria del Popolo is 2:1), the ancient Egyptian obelisks embellishing the squares of the city. Obelisks were also associated with Roman imperial funerals because medieval tradition held that the bronze globe on top of the Vatican obelisk contained the ashes of Julius Caesar. During the Baroque reconstruction of the chapel, the tombs were finished and simplified by Bernini. Originally the medallions were probably made of bronze, the epitaphs were to be written on gilt copper plates, and three sides of the bases were to be decorated with bronze reliefs. A sketch attributed to Giovanni Antonio Dosio (c. 1570) in the Uffizi shows the original form of Agostino's pyramid with the plate and the medallion missing. Another drawing, an architectural phantasy with the figures of Pyramus and Thisbe by Jean Lemaire (c. 1650) shows a similar pyramid obviously inspired by the one in the Chigi Chapel before it was restored by Bernini. A modello drawing for a tapestry by Francesco Salviati (c. 1548) shows the same monument crowned with a cap and small bronze ball which were later removed (or never existed). The pyramids are resting on four small supports of africano marble imitating the original astragals of the Vatican obelisk. It is unsure whether the present pedestals are the originals or they were replaced by Bernini. The 1552 contract speaks about seven "termini" executed by Lorenzetto that could refer to pedestals although the term is ambiguous. Bernini replaced the reliefs on the base with green verde antico marble panels framed by the original giallo antico mouldings. Only one relief survived, the above-mentioned Christ and the Samaritan Woman (now on the altar-front), which illustrated Christ's words on the water of eternal life. Fabio Chigi in his above-mentioned letter in 1626 mentioned another bronze relief on the short side of the base facing the entrance of the chapel. This was identified by Enzo Bentivoglio who discovered a photograph showing a panel with a Mourning Genius in the Chigi family collection. The artwork itself was apparently lost during the 20th century. The relief depicted a winged putto leaning on a turned-down torch with a sad expression. Obviously a similar relief was planned for the other short side facing the altar but this was never executed by Lorenzetto. The new medallions were made of