This work, with the others beside it on the same platform right across the church, was executed about the year 1424, during the Rectorship of Bartolommeo Cecchi. I have already, in my introduction, referred to the difficulty in separating the work done here by Domenico di Niccolo del Coro, from that of Paolo di Martino. Both men appear from the documents to have held the post of Capo-maestro of the Duomo. Tizio mentions distinctly[82] this design as among those executed in 1424, and Milanesi in his Documenti[83] repeating that date, assures us that it was among works to be attributed to Domenico himself: thereby pointedly confuting Vasari’s assertion, that it and those adjoining it were from designs by Duccio. On the same page, however, of the Documenti,[84] we find a notice, dated 1426, of payment to a paper dealer, named Domenico di Francesco, for ten squares of “_fogli reagli_” used by “_Paolo nostro_,” for a design for the “_storia di Giesue_:” and Milanesi himself in his _Discorso sulla Storia Artistica Senese_[85] contradicts his former statement, attributes this design and that of _Samson_ (No. 14) in the opposite aisle of the Choir, also hitherto given by him to Domenico, to Paolo, and dates them both two years later than in his previous assertion. It is an interesting picture, though at present sadly in need of judicious restoration. The greater part of it is occupied by the battle scene, but up in the top left-hand corner we see the bodies of the Five Kings hung up to five stakes, and below them a yawning cavern. Some of the figures are expressed with considerable force, and the fifteenth-century armour of the soldiers is most quaint and curious. The work here, and that of the story of _Samson_ above referred to, do resemble each other, and have not much in common with the known work of Domenico del Coro. I think we may, therefore, fairly consider them as from Paolo’s designs; and supposing that these artists worked in collaboration on the whole scheme of this platform, that, when Tizio spoke of these designs, he described a project not completely carried out until two years later. On either side of the main picture are single figures _Joshua_ and _Solomon_ (Nos. 23 and 24). The first of these Milanesi, in his _Discorso_,[86] gives unhesitatingly to Paolo di Martino, with the same date as the before-mentioned larger design. But of the figure of _Solomon_, now more than half concealed under the marble balustrade of the altar of S. Ansano, a mention exists in a document in the Archivio dell’ Opera, dated 10th of August, 1447.[87] This was during the Rectorship of Giovanni di Pietro Ghezzi (Borghesi), who held the post from 1437 to 1448,[88] and we find a notice dated June, 1444,[89] which may refer to this very work, although it is not mentioned specifically. It is a permission to the Rector to fill up this portion of the Pavement with such a design, as may seem to him suitable and pleasing.[90]