The work visible here now is wholly a restoration; but Federighi’s _Seven Ages_ may be seen nearly complete in the Museum of the Opera, together with part of the frieze of stags. Fragments of the other friezes and borders are also to be found, laid down outside the north aisle of the Cathedral, in the little courtyard between it and the present Palace of the Archbishop. Federighi’s work, when removed (1869–1878), was replaced by the fine copy, which we now see, executed by Leopoldo Maccari and Giuseppe Radicchi. The cost of restoration, at this date, of the entire angle amounted to 22,254 lire 26 c. There is no record of any early work ever having existed between this design and the destroyed Porta, which probably stood nearly on the same spot as the doorway of the present Cappella del Voto. Perhaps the erection of this newer archway created a wider space. However this may have been, designs for the four Theological Virtues, _Religion_, _Faith_, _Hope_, and _Charity_ were made by Carlo Amidei, and executed here by Matteo Pini[117] in 1780. These designs were not admired, and, moreover, did not stand the wear of time as the older work had done. They were, therefore, removed in 1870, and replaced by entirely new designs, made by Professor Alessandro Franchi, and executed, under his direction, by Leopoldo Maccari. Before commencing the description of the last two sections of the Pavement, I must remind my reader once more, that, after a great part of it had been laid down, an important radical change took place in the interior arrangements of the Duomo. Up to the commencement of the sixteenth century the great High Altar, glorified by Duccio’s grand _Maestà_, stood in the centre of the Cathedral, under the Cupola. This part, therefore, of the floor was not decorated. But, on the other hand, that above the steps, where the Choir and Altar now are, was so adorned. By the advice of Baldassare Peruzzi, Capo-maestro in 1532, the whole arrangement was changed. In accordance with his plans, and under his direction, Choir and Altar were moved further east, and placed in the position that they now occupy. Of the original floor decorations, then, all that now remain _in situ_ are the designs in the Choir Ambulatory above-mentioned, and Domenico del Coro’s work, to be described shortly. Fragments of the older work, removed to make way for the alterations, still exist; and, until 1878, were used to fill up three of the hexagons under the Cupola. At that date, as we shall presently see, they were finally removed to the Museum of the Opera, and replaced by modern work of an entirely different character. * * * * * Let us now proceed eastwards and examine 9. THE CHOIR AND ALTAR-STEPS. Before the lowest step of the High Altar, we find one large design, and on either side of it seven small ones; the whole being inclosed by a long processional frieze. The principal design represents _Abraham’s Sacrifice_ (No. 56).