The three remaining hexagons, up to 1878, contained fragments, and most interesting fragments, of older work, which evidently once formed part of the floor, where the High Altar now stands. To the left, looking east, was a delightful design representing the Blind leading the Blind. An old man is holding one end of a stick, while a young man, also blind, is grasping it at the other end. The older man is just stepping over a precipice into space. Below them is a delightful putto, holding in one hand a mirror, and a label with the word “Notate” upon it. This design we know to have been the work of Antonio Federighi in 1459; and for it he received 46 lire.[137] It was apparently ordered by the Rector, Benedetto di Biagio di Roberto, and completed during the Directorate of Cristofano Felice.[138]
The middle design illustrates the Parable of the Mote and the Beam; and though it dates from 1374–5,[139] strangely enough is now in the best preservation of the three.
The third design was a scene of a stately-looking bearded man, giving alms to a woman with a child in her arms. This is generally supposed to be that work of Domenico del Coro[140] which is referred to in a document dated 1433, as being placed by him in the choir (then under the cupola) from the lectern downwards, in that place where they stand to sing,[141] and for which he received 357 lire.
It is impossible now to tell what was the original shape of these designs, or where they were placed. But to fit them into the hexagons, they were made into more or less complete triangles, the remainder of the space being filled up with fragments of old friezes, brought probably from the same place.
In 1875, the fragments left of them, and of the four later mandorle, were removed to the Museum of the Opera, where they now are, and in 1878, all seven were replaced by others, completing the Story of Elijah and Ahab.
The subjects chosen are, for the larger ones:
1. Ahab mortally wounded. No. 40.
2. Elijah carried to Heaven in a Chariot of Fire. No. 38. (Ill. XXVI.)
3. Elijah predicts the manner of Ahab’s death. No. 39.
For the smaller ones: