I propose then to take the names of these men, according to the dates of the first work contributed by them to the Pavement.
Thus we begin with:
1. 1369. Antonio di Brunaccio.
This earliest name, connected with work on the Pavement, is of a man, about whom we do not know very much. In 1362, we find him witnessing two contracts made between the Operaio and a certain Francesco di Tonghio, for woodwork (stalls and a lectern) made for the Choir of the Duomo. He is among the sculptors, whose names are entered in the Book of Arts and Crafts of the City of Siena, under date 1363, and in the following year, he binds himself to do certain work in the Cathedral, and the Cappella di Piazza. In 1369, we read of his making a small lion, to adorn a fountain in the Palazzo Pubblico. He was, perhaps, the son of a certain Brunaccio di Santa Colomba, a sculptor, who signed the Sculptors’ Brief in the thirteenth century, quoted in the Nuovi Documenti.[147]
2. 1370. Sano di Marco.
This man’s name is also among those of the sculptors working in Siena in 1363. Milanesi mentions a daughter of his called Valentina, who married a sculptor named Paolo di Pietro, of the parish (Popolo) of San Stefano: but there is no other record about him.
3. 1370. Francesco di Ser Antonio.
Appears to have been a painter, and we find his name on the list of artists flourishing in Siena in 1402.[148] He was also consulted in 1376 as to the walls of the Cappella di Piazza; and was witness to a contract made with Giacomo di Buonfredi, called Corbello, for certain work done on the façade of the Duomo. He must not, however, be confused with Francesco d’Antonio di Francesco, the goldsmith, who lived many years later.