on this 13th day of March, 12 Lires for our said Master Alberto."
The mosaic is in red, black, and white, while other coloured marbles
are introduced in the ornamental parts of the design, several of which
have been renewed. Fortune herself has been restored, also, as have
most of the lower figures in the composition. Her precariousness
is well indicated by her action in resting one foot on a ball, and
the other on an unstable little boat which floats, with broken
mast, by the shore. She holds a sail above her head, so that she
is liable to be swayed by varying winds. The three upper figures
are in a better state of preservation than the others.

[Illustration: DETAIL OF PAVEMENT, SIENA; "FORTUNE," BY PINTURICCHIO]

There was also in France some interest in mosaic during the eleventh
century. At St. Remi in Rheims was a celebrated pavement in which
enamels were used as well as marbles. Among the designs which appeared
on this pavement, which must have positively rivalled Siena in its
glory, was a group of the Seven Arts, as well as numerous Biblical
scenes. It is said that certain bits of valuable stone, like jasper,
were exhibited in marble settings, like "precious stones in a ring."
There were other French pavements, of the eleventh century, which
were similar in their construction, in which terra cotta was employed
for the reds.

"Pietra Dura" was a mosaic laid upon either a thick wood or a marble
foundation. Lapis lazuli, malachite, and jasper were used largely,
as well as bloodstones, onyx, and Rosso Antico. In Florentine Pietra
Dura work, the inlay of two hard and equally cut materials reached
its climax.