This floor is covered with geometrical patterns in inlay, and was executed during the Rectorship of Jacopo di Chivizzano (1470–1484). We know, from several references in the Archives of the “Opera” of that Cathedral, that it had been commenced before 1475,[222] and that, among others, Matteo Civitali, the great Lucchese sculptor, was employed upon some of the designs on it. It principally consists of merely ornamental friezes and geometrical designs. In the centre of the Nave, however, there is one picture, to which I would draw special attention. It represents the _Judgment of Solomon_, and is the work of one Antonio di Ghino of Siena. It was commissioned, we read,[223] by a certain Bartolommeo Guarguaglia, and finished in 1477.[224] The work is of the same kind as that at Siena, but is coarser and heavier in type. In design it most resembles the work of Domenico di Bartolo, but there are suggestions in some of the female figures of the influence,--Botticellesque perhaps,--that produced Matteo di Giovanni’s _Judith_ and her maid, in the _Relief of Bethulia_. Solomon sits on a throne, under a sort of pillared loggia, surrounded by courtiers and attendants, while before him stand the claimants and their infants. The colouring of the picture, the somewhat brutal force of the composition, and the plentiful use of vari-coloured marbles, recall Matteo di Giovanni’s _Massacre of the Innocents_, although that work was not executed until several years later. Being in the centre of the nave, and not covered, it has been much injured by time and hard usage. Of its maker, Antonio di Ghino, we know but little. From a note given by Milanesi,[225] we gather that, though here called “_da Siena_,” he really came of Lucchese stock, and was the son of one Ghino di Paolo of Lucca, a sculptor who lived long in Siena, and died in 1482. Antonio apparently had a son, who signed the Painters’ Brief in 1533. 2. _The Pavement of the Cappella Piccolominea in S. Francesco._