Vasari’s statement, so often quoted by subsequent writers, that Duccio made designs for this pavement, is quite without documentary authority.[3] Duccio died more than fifteen years before the larger Duomo scheme was finally abandoned; whilst the earliest records dealing with work of a decorative nature[4] is dated 1369, and runs as follows: “a maestro Antonio di Brunaccio vintuna lire a cinque sol per ij braccia e due quarri di tarsie di marmo di lo spazzo di Duomo.” In the following year (1370) we read “a maestro Sano di Marco per dodici porporelle per lo spazzo di duomo, a sol: 10 l’una, si danno L. 6.“; “a Francesco di Ser Antonio per uno braccio e mezzo di compasso per detto spazzo a ragione d’otto lire e mezzo il braccio si danno lire 12. e soldi 15,” and “a maestro Sano di Marco per birichuocoli bianchi e rossi pello spazzo di duomo, L. 4. soldi 8.”[5]
Two years later, according to the historian Sigismondo Tizio, the Pavement of the nave from the cupola downwards was begun, and among other things was laid out (spianata) the design of the Wheel of Fortune, with figures of men clinging to it.
And in the next year (1373) an old chronicler[6] tells us that “In questo anno si fece il pavimento a pietre tassellate,” which no doubt refers to the circle containing the emblems of Siena, surrounded by those of the cities friendly and allied to her. Be it noted here that this is the only portion of the floor that is tessellated; that is to say, decorated with designs, made up of small squares of different coloured stones, in the manner of ordinary mosaic.
Then, in 1374, we find reference[7] to work done, under the direction of Andrea di Minuccio Operaio, at the foot of the Choir; which was at that date, and until the commencement of the sixteenth century, situated under the Cupola.
Again in 1376, 1380, 1398 and 1405, we read of payments to certain master-workmen, named Matteo di Bartolo, Nanni di Corsino, Sano di Matteo, Luca di Ciecho (or Cecco), and Cecco di Giovanni (or Giovannino di Ciecho), for intarsia work on the Pavement, apparently in decorative friezes, some of which, no doubt, exist still, though we cannot now identify them.
The first authoritative document, however, which speaks of figures on the Pavement is an entry in the Duomo Archives, under date March 13th, 1406, which records the payment of 140 lire, “e quali li debiamo dare,” to Marchesse d’Adamo (perhaps a son of the architect, Maestro Adamo), “e compagni maestri di pietra da Como per una rotta (ruota) anno fatto murare nello spazzo contra a la sagrestia.”[8]
From the mention of its neighbourhood to the sacristy, this must point to the circle containing the figure of Fortitude, No 21, from which, alas! restoration, in 1839, has removed all ancient feeling, and sadly reduced to the commonplace.
After this we find no entries until 1423; but from that time commences the real history of the Pavement Masters: and we begin with perhaps the most interesting personage connected with it; namely, Domenico di Niccolo del Coro, who held the post of Capo-maestro[9] of the Opera del Duomo between the years 1413 and 1423. It is not easy now to separate the work attributed to Domenico from that of another artist, Paolo di Martino, who appears to have immediately succeeded Domenico as Capo-maestro. We know, however, that the following portions of the floor were executed at that date:
1. David the Psalmist, surrounded by four Musicians (No. 53).[10]
2. David the Youth with his Sling (No. 55).