re in 1349 Nicolo di Nicoluccio and
Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
remain; Verona, in the sacristy of S. Anastasia, in which city are some
inlays resembling those at Orvieto, and Perugia, where some inlays
remain in the Collegio della Mercanzia, but remains of the period are
few, as may be expected.

[Illustration: _To face page 10._ Plate 3.--_Chair Back from S.
Ambrogio, Milan._]

Domenico di Nicolo worked for 13 years at the chapel in the Palazzo
Pubblico at Siena, using some of Taddeo Bartoli's designs, and also
did the doors of the Sala di Balia, or of the Pope. This man, who was
one of the best Sienese masters of intarsia and carving, and was head of
the Opera del Duomo in 1400, and whose work brought him so much
reputation that his family name of Spinelli was changed for himself and
his descendants to Del Coro, or Dei Cori, is an example and a proof of
the small profit which was to be made even then by conscientious and
careful work. He was not only a worker in wood, in 1424 he also did the
panels of the Cathedral floor, representing David and Goliath, the
Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
paid 42 lire for a tabernacle made of gesso, while as early as February
28, 1397-8, he was paid 32 lire 10 soldi for 32-1/2 days' work on a
window above the pulpit; yet on May 13, 1421, he petitions the priors
and captain of the people to this effect. He says that he is poor, and
cannot meet the requirements of his family and apprentices, each of
whom, he says, costs 30 or 40 florins a year, and therefore suggests
that he should have two or three boys to teach, and that the priors
should subsidize him for that purpose, and binds himself to teach them
all he can without reserve. The priors and captains recommended to the
council that he should be paid by the chamberlain of Bicherna 200 lire,
free of tax, by the year, "nomine provisionis libr: ducentos den:
nitidas de gabella," and should have two or three Sienese youths to
teach, and the council passed the recommendation the same day.
Twenty-six years later, January 14, 1446-7, he appears again in the
records with a petition to the Signory. He says that he has always, from
his youth up, done his best to provide for his family, and that by his
craft he has always tried to bring honour on the city and spread the
fame of his works. That as they know he was granted money to teach his
art to any young man who