Bartolommeo di Pietro Gallo, 41 sc.; and Giovanni d’Antonio Marinelli, called _il Mugnaino_, 486 sc. To these Milanesi adds two more, not mentioned by either of the above authorities: Niccolo Filippi and Cristofano di Carbone.[126] Immediately below these scenes a long narrow design, also by Beccafumi, shows _Moses striking the Rock to bring water for the thirsting Israelites_ (No. 51). This is by far the most pleasing and successful of Beccafumi’s works. We can see, from its very simplicity, how much its charm depends upon sheer skill of drawing. This work was executed in 1525,[127] but we do not find any record as to the amount paid to him for it, or the workmen employed upon it. Probably they were the same as had carried out his previous designs.[128] These scenes by Beccafumi provoked the most extravagant admiration and applause from the writers of the seventeenth, eighteenth and early nineteenth centuries; and as _tours de force_, and specimens of a new kind of work, they are certainly remarkable. They do not, however, succeed in provoking that feeling of pleasure and charm, that one experiences when studying the older and simpler productions. And now we come to the last section, and some of the latest work. 10. UNDER THE CUPOLA. This vast hexagonal space is divided into seven hexagons and six lozenges. They all now contain scenes from the _Story of Elijah_, completing what probably was Beccafumi’s original design. That that artist _did_ prepare designs for four of the hexagons, for two of the lozenges and for a frieze, we have abundant evidence, for we have no less than five notices,[129] between the 11th of March, 1518–19, and the 18th of June, 1524, in the books of the Opera, of payment to him, not only for his labour, but also for the paper used for his cartoons. It is also to be noted that the commission for this work was given him earlier than that of any of the other works above described. Upon these grounds, Professor Luigi Mussini, writing on the Pavement,[130] supposes that they were executed in 1517, and likens them to Pinturicchio’s work of eleven years before. A recent writer in the Miscellanea Storica Senese,[131] however, contests this statement, and quotes a document in the Archives dated 1562,[132] which states that a certain person, called there _Giovan Battista nostro_, designed four scenes from the _Story of Elijah_ for the Duomo floor, which, we gather from the same sources, were executed by the Cathedral masons, Niccolo di Girolamo Gori, Domenico di Pier Giovanni, and the same Bernardino di Jacomo.