In conclusion, let me say, that whatever may be the opinion of critics of undoubted ability: first, as to the suitability of a Pavement, such as this, at all;[236] and next, as to the varying merits of this or that portion of it, over any other: there can be no doubt, as to its paramount and unique interest, historically, as well as artistically. It is in itself a small epitome of Sienese Art History: a continuous chain, whose links bind together, in spite of long intervals, more than five centuries of Sienese art-workers; and a never-ending joy to the thoughtful and the intelligent. FOOTNOTES [1] These numbers refer to the position of these subjects on the plan (p. 15). [2] _Documenti per la Storia dell’ Arte Senese_, collected and illustrated by Dott. Gaetano Milanesi (Porri, Siena, 1854). Supplemented by _Nuovi Documenti per la Storia del Arte Senese_, by S. S. Borghesi and L. Banchi. (Torrini, Siena, 1898). [3] Vasari also states that Duccio invented this species of work; but Milanesi, in his Notes to Vasari’s “Life of Duccio” (vol. i. p. 654), says, “It is certain, also, that these works of ‘_putting together_’ (_commesso_), were in use _before_ the time of Duccio. We have an ancient example in the Atrium of the Duomo at Lucca, where, among certain ‘little figures,’ (_formelle_), is a decoration in black, red and white marble, with figures of men and animals, in some parts _engraved_ (_graffiti_). This work of ‘_commesso_,’ and mosaic in marble, was made in 1233, as is shown by an inscription near the left side of the great door, which states: “HOC OPUS CEPIT FIERI A BELENATO ET ALDIBRANDO OPERAIIS A.D. MCCXXXIII.” [4] Mil. Doc., vol. i. p. 176–178. An earlier notice as to the floor itself, dated 1362, exists it is true, and runs as follows: “a lo schalzetta matonaio--per matoni che sebero per amatonare lo spazzo di duomo intorno al altare di duomo L. 11 sol. 6.” (Archivio dell’ Opera del Duomo. Entrata e Uscita ad annum). But this clearly only refers to the laying down of an ordinary floor; perhaps a platform for the high altar. Cf. Padre Prof. Everardo Micheli. _Il Pavimento del Duomo_, etc. Note f. [5] Archivio detto. Entrata e Uscita ad annos. [6] _Frammenti di Storia Senese_ presso Emilio Piccolomini. [7] Archivio detto. 1374, Maggio, Libro d’Entrata ed Uscita a 70. See also Borghesi MSS. [8] Archivio detto. Bastardello, No. 2, del 1405, a. 65. [9] Apparently the working foreman or clerk of the works. The terms used to describe the different offices are both confusing and misleading, but it is evident from the documents that the _Rettore_ or _Operaio_ as he is indifferently called, was a person of much greater social importance than the _Capo-maestro_, and not really a workman at all. He was the official Director of the Cathedral works, the Steward in fact: the Capo-maestro being his head workman. [10] These numbers refer to the plan on p. 15.