The whole story is told in different parts of the picture, culminating in the central group of the Sacrifice itself. The smaller designs represent the following subjects. * * * * * On the right of the Altar: 1. _Elisha raising the son of the Shunammite._ 2. _A prophet with an open book before him._ 3. _Eve on her knees._ 4. _A woman, holding in her hand an open book._ 5. _Another woman, with a mirror, representing Prudence._ 6. _The Sacrifice of Melchisedec._ 7. _A seated woman, with a child._ On the left: 1. _The old Tobit, with his son, Tobias, and the Angel Raphael. At their feet a dog._ 2. _A woman, representing Charity._ 3. _Adam kneeling._ 4. _A prophet, gazing up to Heaven._ 5. _Another woman, seated, holding a book in her hand._ 6. _The Sacrifice of Abel._ 7. _Another woman, seated, with a child._ A great procession runs all round these, composed of men and women of all ages, shown in half-length, representing _The Children of Israel seeking the Promised Land_. All these designs were the work of Domenico di Jacopo di Pace Beccafumi, called Il Mecharino, and we read in Alfonso Landi’s _Descrizione del Pavimento_ and in the notes of Abate Faluschi[118] that they were executed between the years 1544 and 1546. The writers refer to (as their authority) the Libro Giallo dell’ Assunta of the Cathedral Archives, and state that the artist received 8,004 lire 19 c. for his work. The subjects chosen fitly complete the general scheme of the floor, surrounding, as they do, the Altar, with symbolical imagery from the Old Testament. The repentant Adam and Eve, the three Typical Sacrifices, Prophets, Virtues, the Guardian Angel, and around the whole a host of believers hastening to the Promised Land. Some of the drawing is very beautiful and extremely decorative, notably the frieze. The beautiful figure of Eve, indeed, has been even attributed to Giovanni Antonio Bazzi (_Il Sodoma_), who is known to have received a commission to make at least one design for this floor.[119] This, however, is wholly uncertain, and cannot now be verified. The workmen employed here, and the sums they received respectively, we learn from the above sources and from Milanesi.[120] They were Bernardino di Giacomo, who received for his labour 475 scudi, and Pellegrino di Pietro, 151 sc., 1. 4. These men were probably masons in the regular employ of the Cathedral, for Bernardino, at least, seems to have been employed on all the work done at this time. Descending three steps we come to Domenico del Coro’s design of David, to which we have had occasion to refer already more than once. _David as King and Psalmist, and David and Goliath._