In 1505 Pinturicchio was paid for a work on the floor: "To master Bernardino Pinturicchio, ptr., for his labour in making a cartoon for the design of Fortune, which is now being made in the Cathedral, on this 13th day of March, 12 Lires for our said Master Alberto." The mosaic is in red, black, and white, while other coloured marbles are introduced in the ornamental parts of the design, several of which have been renewed. Fortune herself has been restored, also, as have most of the lower figures in the composition. Her precariousness is well indicated by her action in resting one foot on a ball, and the other on an unstable little boat which floats, with broken mast, by the shore. She holds a sail above her head, so that she is liable to be swayed by varying winds. The three upper figures are in a better state of preservation than the others. [Illustration: DETAIL OF PAVEMENT, SIENA; "FORTUNE," BY PINTURICCHIO] There was also in France some interest in mosaic during the eleventh century. At St. Remi in Rheims was a celebrated pavement in which enamels were used as well as marbles. Among the designs which appeared on this pavement, which must have positively rivalled Siena in its glory, was a group of the Seven Arts, as well as numerous Biblical scenes. It is said that certain bits of valuable stone, like jasper, were exhibited in marble settings, like "precious stones in a ring." There were other French pavements, of the eleventh century, which were similar in their construction, in which terra cotta was employed for the reds. "Pietra Dura" was a mosaic laid upon either a thick wood or a marble foundation. Lapis lazuli, malachite, and jasper were used largely, as well as bloodstones, onyx, and Rosso Antico. In Florentine Pietra Dura work, the inlay of two hard and equally cut materials reached its climax. Arnolfo del Cambio, who built the Cathedral of Sta. Maria Fiore in Florence, being its architect from 1294 till 1310, was the first in that city to use coloured slabs and panels of marble in a sort of flat mosaic on a vast scale on the outside of buildings. His example has been extensively followed throughout Italy. The art of Pietra Dura mosaic began under Cosimo I. who imported it, if one may use such an expression, from Lombardy. It was used chiefly, like Gobelins Tapestry, to make very costly presents, otherwise unprocurable, for grandees and crowned heads. For a long time the work was a Royal monopoly. There are several interesting examples in the Pitti Palace, in this case in the form of tables. Flowers, fruits, shells, and even figures and landscapes have been represented in this manner. Six masters of the art of Pietra Dura came from Milan in 1580, to instruct the Florentines: and a portrait of Cosimo I. was the first important result of their labours. It was executed by Maestro Francesco Ferucci. The Medicean Mausoleum in Florence exhibits magnificent specimens of this craft.