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). 3. The Giant Goliath falling backwards (No. 54). 4. Moses (No. 16). 5. Samson chastising the Philistines (No. 14). 6. Judas Maccabeus (No. 15). 7. Joshua (No. 23). 8. The Slaughter of the Five Kings of the Amorites (No. 22). Of these eight subjects the first three may be with certainty given to Domenico himself; whilst Nos. 5 and 8 may be[11] ascribed to the other artist. Of the single figures that of Judas Maccabeus is so entirely concealed now by the balustrade of the altar of the Blessed Sacrament built over it, that it is impossible to ascertain with any degree of absolute certainty who was its author; but Joshua and Moses are given by Milanesi to Paolo di Martino. Domenico seems to have been a great and versatile artist, a worker in glass,[12] as well as in marble, and above all famous for his skill in woodcarving and inlay. The restorations of his work here, which have evidently been frequent, have robbed it of very much of the charm, which we feel so strongly in his inlaid panels in the Palazzo Pubblico Chapel, but there is still a naïve originality about the designs, which cannot fail to show his high merit. The next celebrated artist, who left his mark on this floor was the painter, Domenico di Bartolo di Ghezzo of Asciano, whose charming design of the Emperor Sigismund enthroned, No. 13, is one of the most marked exceptions to the general scheme. Next we have Pietro del Minella, the celebrated sculptor, and a pupil of the still more famous Giacomo della Quercia. He also left only one design, but that perhaps the most striking in the entire floor: Absalom hanging by his hair, No. 12.