The fame of the ability of Domenico being thus spread abroad, Prince Doria, who was with the Court, after seeing all the works by his hand that were in Siena, besought him that he should go to Genoa to work in his palace, where Perino del Vaga, Giovanni Antonio of Pordenone, and Girolamo da Treviso had worked. But Domenico could not promise that lord that he would go to serve him at that time, although he engaged himself for another time, for in those days he had set his hand to finishing a part of the marble pavement in the Duomo, which Duccio, the painter of Siena, had formerly begun in a new manner of work. The figures and scenes were already in great part designed on the marble, the outlines being hollowed out with the chisel and filled with a black mixture, with ornaments of coloured marble all around, and likewise the grounds for the figures. But Domenico, with fine judgment, saw that this work could be much improved, and he therefore took grey marbles, to the end that these, profiled with the chisel and placed beside the brilliancy of the white marble, might give the middle shades; and he found that in this way, with white and grey marble, pictures of stone could be made with great perfection after the manner of chiaroscuro. Having then made a trial, the work succeeded so well in invention, in solidity of design, and in abundance of figures, that he made a beginning after this fashion with the grandest, the most beautiful, and the most magnificent pavement that had ever been made; and in the course of his life, little by little, he executed a great part of it. Round the high-altar he made a border of pictures, in which, in order to follow the order of the stories begun by Duccio, he executed scenes from Genesis; namely, Adam and Eve expelled from Paradise and tilling the earth, the Sacrifice of Abel, and that of Melchizedek. In front of the altar is a large scene with Abraham about to sacrifice Isaac, and this has round it a border of half-length figures, carrying various animals which they seem to be going to sacrifice. Descending the steps, one finds another large picture, which serves to accompany that above, and in it Domenico represented Moses receiving the Laws from God on Mount Sinai; and below this is the scene when, having found the people worshipping the Golden Calf, he is seized with anger and breaks the Tables on which those Laws were written. Below this scene, opposite to the pulpit, and right across the church, is a frieze with a great number of figures, which is composed with so much grace and such design that it defies description; and in this is Moses, who, striking the rock in the desert, causes water to gush out and gives drink to his thirsty people. Here, along the whole length of the frieze, Domenico represented the stream of water, from which the people are drinking in various ways with a vivacity so pleasing, that it is almost impossible to imagine any effect more