THE J. PAUL GETTY MUSEUM LIBRARY 
 
Digitized by 
 
 the Internet Archive 
 
 
 
 in 2014 
 
 
 
 https://archive.org/details/exhibitionofpict00burl_1 
 
PICTURES 
 
 OF 
 
 SIENA 
 
 AND 
 
 OBJECTS OF ART 
 
Burlington Fine Arts Club 
 EXHIBITION 
 
 OF 
 
 PICTURES 
 
 OF THE SCHOOL OF 
 
 SIENA 
 
 AND EXAMPLES OF THE 
 
 MINOR ARTS 
 
 OF THAT CITY 
 
 LONDON 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB 
 
 1904 
 
CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
 6H1Y CtiiiU VSS0t 
 
COMMITTEE FOR THIS EXHIBITION 
 
 THE LORD BALCARRES, M.P. 
 ROBERT H. BENSON, ESQ. 
 LIONEL CUST, ESQ., M.V.O. 
 R. LANGTON DOUGLAS, ESQ. 
 LT.-COL. CROFT LYONS. 
 
 SIR JOHN STIRLING MAXWELL, BT., M.P. 
 THE LORD WINDSOR. 
 
The Committee desire to record their thanks to 
 Mr. R. Langton Douglas 
 
 Author of "A History of Siena," "Le Maioliche di Siena," "Fra Angelico," 
 and Joint Editor with the late S. Arthur Strong of the new edition 
 of Crowe and Cavalcaselle's " History of Painting in Italy " 
 
 without whose knowledge and industry this Collection of 
 Sienese works of Art could not have been brought together, nor 
 the Introduction and Catalogue so authoritatively completed. 
 
 JHi fitTTY CENTER 
 LIBRARY 
 
INDEX TO CONTRIBUTORS 
 
 HIS MAJESTY THE KING. Nos. 5, 29. 
 
 w. lockett agnew, esq. 52. 
 Musee des Beaux Arts, Antwerp. 21. 
 Herr A. von Beckerath. 53; Case A, 
 
 1, IS- 
 
 *R. H. Benson, Esq. 33. 
 Mrs. Robert Benson. 2, 7, 19, 20, 22, 
 30, 60, 62. 
 
 The Trustees of the Bowes Museum, 
 
 Barnard Castle. 25. 
 Selwyn Brinton, Esq. Case A, 13. 
 *The Earl Brownlow. 38, 43. 
 
 Lady Burne-Jones. 36. 
 ♦Charles Butler, Esq. 27, 28, 70. 
 The Syndics of the Fitzwilliam 
 Museum, Cambridge. 24, 39, 5 1 , 67, 68. 
 *Sir Thos. D. Gibson Carmichael, Bt. 
 
 Case A, 16, 17. 
 *Sir Martin Conway. 58. 
 Sir Frederick Cook, Bt.,M.P. 23,35, 54. 
 *Wyndham F. Cook, Esq. Case A, 2. 
 The Earl of Crawford, K.T. 4, 6, 16, 
 48, 59- 
 
 R. Langton Douglas, Esq. Case A, 8. 
 Charles L. Eastlake, Esq. 32. 
 J. H. Fitzhenry, Esq. 71,78; Case A, 3, 
 7, 14; Case B, 4. 
 *T. Whitcombe Greene, Esq. Case C, 
 
 2, 6, 7, 9, 11, 13, 19, 20, 21, 23, 24, 26, 
 27, 28. 
 
 *G. Harland-Peck, Esq. 49. 
 *Lt.-Col. Sir Herbert Jekyll.K.C.M.G. 
 57. 65. 
 
 *Rodolphe Kann, Esq. 69. 
 *Sir James Knowles, K.C.V.O. 73. 
 The Trustees of the Royal Insti- 
 tution, Liverpool. 18, 34. 
 
 *Lt.-Col. Croft Lyons. Case A, 9. 
 
 *The Rt. Hon. W. G. Ellison Macart- 
 ney. 64, 66. 
 
 *Dr. Ludwig Mond, F.R.S. 44, 61. 
 
 *J. Pierpont Morgan, Esq. Case A, 10, 
 12. 
 
 Sir Kenneth Muir-Mackenzie, K.C., 
 
 K.C.B. 14. 
 C. Fairfax Murray, Esq. 46, 63, 74, 
 
 75A, 76; Case A, 1 1. 
 The Dean and Governing Body of 
 
 Christ Church, Oxford. 26. 
 Sir C. Hubert H. Parry, Bt., D.C.L. 
 
 56; Case A, 4. 
 *Alfred A. de Pass, Esq. 8. 
 *Sir Edward J. Poynter, Bt., P.R.A. 
 
 17, 72, 75- 
 
 Sir W. B. Richmond, K.C.B., R.A. 9. 
 *Max Rosenheim, Esq. Case C, 1, 3, 4, 
 5, 16, 17, 18, 22, 25. 
 Rev. E. Meadows Russell. 12, 15. 
 *George Salting, Esq. 47; Case A, 6; 
 Case B, 2, 5, 6, 7, 13, 16; Case C, 12, 
 14. 
 
 Mr. and Mrs. Arthur Severn. 41,42. 
 *F. E. Sidney, Esq. 50. 
 Count Stroganoff. ii. 
 •J. E. Taylor, Esq. Case A, 5. 
 The Victoria and Albert Museum. 
 77; Case A, 13, 18; Case B, 1, 3, 9, 10, 
 II, 12, 14, 15, 17, 18, 19, 20, 21, 22; Case 
 C, 8, 10, 15. 
 Henry Wagner, Esq. i, 3, 10, 13, 55. 
 The Lady Wantage. 40. 
 Henry Willett, Esq. 37. 
 Mrs. Worthington. 31,45. 
 
 Contributors whose names are marked thus * are members of the Club. 
 
INDEX TO MASTERS REPRESENTED 
 
 Andrea di Niccolo (1460-1529). No. 51. 
 Andrea di Vanni (1332-1414). 24. 
 Balducci, Matteo (working in the first 
 
 quarter of the sixteenth century). 59. 
 Barili, Antonio. 77. 
 Beccafumi, Domenico (1479-1549). 60, 
 
 62, 71, 75, 75A. 
 Benvenuto di Giovanni (1436-1518 
 
 circa). 47, 50. A FOLLOWER OF. 49. 
 
 Benedetto di Giorgio (working 1503- 
 
 1522). Case B, 1 and 6. 
 Berna (? died 1 381). 22. 
 Buonaccorso, Niccolo (d. 1388). 8. 
 Ceccharelli, Naddo (working in 1347). 
 
 23- 
 
 Cozzarelli, Guidoccio (working in the 
 
 latter half of the fifteenth century). 45, 46. 
 DUCCIO DI Buoninsegna (1255 circa- 
 
 13 19). 2,4,5,7. School of. 64,66. 
 Francesco di Giorgio Martini (1439- 
 
 1502). 33, 35, 40. 
 Giovanni di Paolo (1403 circa-1482). 
 
 27, 28, 30. 
 
 Girolamo di Benvenuto (1470- 15 24). 
 52, 54- 
 
 Lorenzo di Pietro Detto il Vecchi- 
 
 ETTA (141 2-I480). 34. 
 
 Lorenzetti, Ambrogio (1285 circa- 1 348). 
 1 1, 63. School of. 14. 
 
 Lorenzetti, Pietro, School of. 13. 
 
 Lorenzetti, School of the. 16. 
 
 LUCA DI TOMME (working in the latter 
 half of the fourteenth century). 68. 
 
 Martini, Simone (1284 circa-1344). 18, 
 21. School of. 20, 67; Case A, 1. 
 
 Martino di Bartolommeo (d. 1434). 76. 
 
 Matteo di Giovanni (1430 circa-1495). 
 37, 42, 44. School of. 38, 43. 
 
 Memmi, Lippo (1290 circa-1357). 17, 19. 
 
 Neroccio di Bartolommeo (1447- 1 500). 
 39, 41, 78. School of. 70. 
 
 Pacchia, Girolamo di Maestro Gio- 
 vanni Detto Del (1477-1 535). 53, 56, 
 57, 58. 
 
 Pastorino Pastorini (1 508-1 592). Case 
 
 C, Nos. 1 to 28. 
 Peruzzi, Baldassare (1481-1537). 61. 
 Pietro di Domenico (1457-1 501). 48. 
 Sano di Pietro (1406-1481). 26, 29, 31, 
 
 32, 36, 74- 
 
 Sassetta, Stefano di Giovanni (1392- 
 
 1450). 25. 
 Sienese School. 9, 55, 65. 
 Ugolino da Siena (working in the first 
 
 half of the fourteenth century). 1, 3, 6, 
 
 10, 12, 15. 
 
 Vanni, Francesco (working in the latter 
 half of the sixteenth century). 72, 73. 
 
 The figures refer to the Nos. of the pictures, etc., ?iot to the pages. 
 
 B 
 
INTRODUCTION 
 
 PART I 
 
 SIENESE PAINTING 
 
 IRST-BORN of early Italian schools of painting were the 
 Roman and the Sienese. Both schools owed their inspira- 
 tion to the artists of the second golden age of Byzantine 
 art. Under the influence of the Greek mosaists there arose 
 
 at Rome a school of masters who were, for the most part, decorators of 
 walls. 1 Under the influence of the Greek miniaturists there grew up at Siena a 
 school of artists whose early leaders, Duccio and Ugolino, excelled as painters 
 of panels. And the influence of the miniature affected the school of Siena 
 throughout its history. Like their Byzantine predecessors, the Sienese 
 strove to realize, as I have said elsewhere, an effect of hieratic sumptuous- 
 ness. Disdaining for the most part feats of modelling, they sought to 
 express religious emotion by subtle effects of graceful line, bright, pure 
 colour, and an exquisitely scrupulous technique. In their most characteristic 
 works we find a " hieratic precision and grace, as of a sanctuary swept and 
 garnished." At Rome, on the other hand — the new movement, like all 
 renascences in the new Rome on the Bosphorus, leading to a return to 
 
 1 Crowe and Cavalcaselle, " History of Painting in Italy," edited by Langton Douglas, 
 assisted by S. Arthur Strong, vol. i, chapter iii. 
 
12 Sienese Painting 
 
 classical antiquity — fine, sculpturesque modelling was aimed at by masters 
 like Pietro Cavallini. The influence of the Roman school, of the northern 
 sculptors through Giovanni Pisano, 1 and later of Giotto — who was artistically 
 the offspring in part of Rome, in part of Giovanni — affected powerfully 
 the Sienese masters of the early trecento. But these forces, except, perhaps, 
 in the case of Pietro Lorenzetti, did not divert them from their primary 
 artistic aims. 
 
 The neo-Roman school died young. In the year 1309 the Babylonish 
 captivity began. Poverty and violence made their abode in the city of 
 the Popes; and Art, who is a fair-weather guest, took her flight from the 
 desolate metropolis. 
 
 The Sienese school did not die young. But, after a glorious childhood, 
 its youth was arrested, and subsequently it developed but little. In fact, 
 it preserved much of the naweU of its first childhood until overtaken by its 
 second. But, like the Sienese Republic, the school of painting of this strange 
 people, after a long period of decline, made a glorious end. Baldassare 
 Peruzzi was one of the great artists of his age, as also, at his best, was 
 Domenico Beccafumi. 
 
 The early Sienese The first great master of Central Italy whose works are known to us 
 was Duccio di Buoninsegna. Already in the year 1278 he was employed by 
 the government of his native city; and six years later he was commissioned 
 to paint an altar-piece for the Florentine convent of S. Maria Novella. 
 Throughout the early years of the Dugento, and in the early decades of the 
 following century, the Florentines were so poor in native masters, that they 
 were compelled to employ continually artists from the rival city to paint 
 their altar-pieces, and to sculpture the monuments of great personages. 
 
 Duccio stood between the old world and the new, and in a measure 
 belonged to both. His aim was identical with that of his artistic ancestors, 
 the great, nameless miniature painters of the second golden age of Byzantine 
 
 1 Crowe and Cavalcaselle, op. cit., vol. i., p. 132, edit, note 5. 
 
 Masters. 
 
Sienese Painting 13 
 
 art, and his technique was derived from theirs. He adopted in many cases 
 their types ; and in several, but by no means all, of his pictures he followed 
 in his composition the recipes of the Byzantine manuals. And yet even his 
 earliest pictures show some fresh observation of nature, some new conception 
 of a person or an event. In all of them he infuses new life into the old con- 
 vention. Moreover, his later works reveal distinct traces of the influence of 
 the new Gothic movement; not only in the architectural backgrounds of his 
 pictures, but in certain of his types, and here and there in the design of his 
 draperies. 
 
 Duccio's first period is not represented in this collection. The earliest 
 work here, the triptych from Buckingham Palace, belongs to his middle 
 period. If it were desirable to give names to Duccio's three periods they 
 might be styled his Byzantine period, his Roman period, his Gothic period; 
 it being understood that in the second period he was still under Byzantine 
 influence, and in the third period influenced by Byzantine and Roman 
 masters, as well as by the leaders of the new movement in Italy. This 
 picture belongs to his Roman period. In the Cosmatesque thrones, as in the 
 forms of the Christ and the Virgin, are evidences of the influence of the 
 Roman classical revival. The picture of St. Francis receiving the stigmata, 
 which is on the upper part of the right-hand panel, demonstrates what a 
 wide gulf divides Duccio from the rude artists of the old Tuscan school 
 who painted portraits of St. Francis in his own Umbria. Duccio gives no 
 repulsive caricature of the most loveable of saints, but a freshly-realized 
 representation, full of vitality and charm. 
 
 Of Duccio's last period there are five panels in this collection. These 
 prove that, to the last, Byzantine and Roman influences held a powerful 
 sway over him. But in them, also, are unmistakeable evidences of Gothic 
 influence. There are, in fact, few early Sienese pictures that are more 
 Gothic in feeling than Mrs. Benson's " Temptation." It has just the same 
 qualities that we find a century later in Lorenzo Monaco's drawings of the 
 "Journey of the Magi" and the "Visitation." In its eerie mysticism, in its 
 
14 Sienese Painting 
 
 exuberant imaginative power, it recalls to us the reliefs executed by the 
 nameless sculptors of the great French and German cathedrals. The figure 
 of the Christ is only superficially neo-classical. And northern and Gothic 
 as is the architecture in the cities of the world, it is not more Gothic or 
 northern than that near relative of the devils of the northern sculptors, 
 Duccio's "Satan." 
 
 In the works of Duccio's great contemporary, Ugolino, we find little 
 trace of Gothic feeling. But in technique, Ugolino modified the methods of 
 his Byzantine predecessors. He used a more liquid, purer tempera, and 
 favoured paler colour schemes. Like Duccio, and Duccio's most intimate 
 follower, Segna, he was commissioned to paint an altar-piece for one of the 
 great Florentine churches. 
 
 But the greatest master of the golden age of Sienese art was Simone 
 Martini. No flowers of art that ever sprang up in later days within the 
 sheltering rose-red walls of old Siena had the grace of form, and the 
 brilliancy and subtlety of colour of these blossoms of the spring. In Simone's 
 works we find religious emotion harmoniously expressed in works of great 
 decorative charm. Only now and then in the later history of the school — in 
 the smaller panels of Sassetta and Giovanni di Paolo, and in the best work 
 of Matteo di Giovanni and Neroccio — was the constant aim of the school 
 realized in anything like the same degree. 
 
 The panels exhibited here belong to Simone's last period. They were 
 painted whilst the artist was in the service of the Pope at Avignon. In 
 feeling, as well as in the modelling of the figures, and in decorative details, 
 they reveal the influence of French art upon the painter. They remind us, 
 too, how narrow was the barrier that divided Sienese panel-painting from 
 the works of the miniaturists. 
 
 As Segna's Madonnas are more archaic in feeling than those of his 
 master, so Lippo Memmi's are more Byzantine than the Virgins of Simone. 
 Already before the great early masters had passed away had begun the 
 decline of Sienese art. Lippo Memmi, and in a smaller measure Naddo 
 
Sienese Paifiting 15 
 
 Ceccharelli, preserved something of Simone's charm, his grace of line, his 
 feeling for rich harmonious colour. But their works show enfeebled vitality 
 and have a much smaller spiritual content. 
 
 Simone was the typical Guelph painter. His best works were executed 
 for popes and cardinals, for Guelph princes like Robert of Anjou, for the 
 Guelph government of Siena. In his "St. Louis crowning King Robert," he 
 shows us Christian knighthood subordinating itself to the spiritual power; 
 in his " Guidoriccio of Fogliano," we see the knight riding forth to do battle 
 for the cause of the Church. It was St, Martin, whose story Simone painted, 
 who, when at a banquet the Emperor handed to him his own wine-cup, 
 presented it to a poor priest standing by; thus showing that he accounted 
 the humblest representative of the spiritual power greater than the most 
 exalted of temporal rulers. Simone gave artistic form to the ideals and 
 visions of Guelph priests and knights. 
 
 Pietro and Ambrogio Lorenzetti were the artists of the new movement, 
 the movement of the bourgeoisie. Ambrogio set himself to express through 
 the medium of fresco painting the civic ideal; the ideal of the successful 
 merchant of the class in which the movement of the Renaissance found its 
 ardent adherents and patrons. Pietro's most typical works remind us of a 
 novel of Boccaccio. For in them is the same tendency to naturalism, the 
 same lack of restraint, the same love of personal anecdote. They reveal to 
 us Pietro as a brilliant narrator. We find similar qualities in the works 
 of his followers, Paolo di Maestro Neri and the unknown artist, perhaps a 
 Pisan, who painted Lord Crawford's " Hermits of the Thebaid, and Founders 
 of Religious Orders," in this collection. 
 
 Ambrogio's frescoes at S. Francesco at Siena, executed in the year 1331 
 — the earliest works of the artist of which the date is known with any cer- 
 tainty — show that at that time he was powerfully influenced by Giotto. Be- 
 cause of this influence his pictures are stronger in modelling than his Sienese 
 contemporaries; at the same time his panels, like theirs, bear traces of 
 the influence of the miniature. We find in them the brilliant colour and 
 
1 6 Sienese Painting 
 
 the refinement of technique that distinguishes the works of the missal- 
 painters. 
 
 The golden age of Sienese art, the age of the great masters, ended in 
 the year 1348, the year of the Black Death. The ravages of the merchant 
 companies, her own intestine disorders, commercial depression and famine, 
 rendered Siena no fit home for the Muses. During this dreary period of 
 Sienese history, painting languished. Artists like Luca di Tomme, Bartolo 
 di Fredi, Paolo di Giovanni Fei, and Andrea Vanni, repeated for the most 
 part the old conventions. Only Berna, who was influenced in part by Pietro 
 Lorenzetti, and in a smaller measure by Simone Martini, preserved for a 
 time the fine technique of the earlier masters. In the hands of Bartolo di 
 Fredi and Paolo di Giovanni Fei, the tradition gradually degenerated until, 
 in Andrea Vanni, it reached its nadir. This master, estimable as a states- 
 man and as a friend of St. Catherine, was, as a painter, undistinguished. 
 His authentic works are feeble in drawing, crude in colour, and infantile in 
 design. 
 
 The The revival began with Taddeo di Bartolo, a prolific artist, who 
 
 Quattrocentists. reac k e( j a f a j r ] eve } f attainment both in panel-painting and in fresco. But 
 the true leaders of the new movement were Stefano di Giovanni, called 
 Sassetta, and Domenico di Bartolo. The achievement of Sassetta has 
 recently been discussed at length. 1 He is represented in this collection 
 by his small panel " A Miracle of the Sacrament," a work which was first 
 given to Fra Angelico, and afterwards, like his beautiful " Mystic Marriage 
 of St. Francis " at Chantilly, to his follower Sano di Pietro, an artist who 
 had little of his masters quality. This "Miracle of the Sacrament" re- 
 sembles in many points the " Adoration of the Magi," in the Chigi palace 
 at Siena, an exquisite little panel which was also attributed to Beato Angelico 
 
 ' Douglas, "A History of Siena." London, 1902, pp, 386-388. "Burlington Magazine," 
 May, 1903; September-October, 1903; November, 1903; December, 1903. 
 
Sienese Painting 17 
 
 before I had the good fortune to recognize it as a work of Sassetta some six 
 years ago. 
 
 Domenico di Bartolo was a leader of the Renaissance movement in 
 Sienese painting. In his remarkable " The Emperor Sigismund Enthroned" 
 in the pavement of the Duomo at Siena, he shows himself to be a pioneer in 
 the return to antiquity. Sassetta was not altogether uninfluenced by the new 
 movement, but he remained loyal to the decorative aims of Simone. Beautiful 
 pattern, bright transparent colour, a hieratic splendour — these were the chief 
 elements of the ideal he handed on to Giovanni di Paolo, to Sano di Pietro, 
 to Pietro di Giovanni, and to Vecchietta. How fully that ideal was realized 
 by Giovanni, the " Scenes from the Life of St. John the Baptist," and the 
 "Annunciation" in the present collection bear witness. With the "Paradiso" 
 in the Palmieri-Nuti collection and the little " Madonna of the Roses" (No. 
 206) in the Siena Gallery, they rank amongst the most exquisite works of 
 their school and period. Sano di Pietro, like Pietro di Giovanni, was a 
 weaker artist, an unvirile, but sometimes charming reactionary. A pious and 
 commercially successful painter, he put his sons into the business, and his 
 bottega produced a great quantity of good, bad, and indifferent work. 
 
 Lorenzo di Pietro Vecchietta, although influenced by Sassetta, and in a 
 measure by his contemporary, Giovanni di Paolo, was more strongly affected 
 by the Renaissance than they were. He was an architect and a sculptor, as 
 well as a painter; and his " S. Bernardino Preaching," in the present collec- 
 tion, reveals some of his qualities in the three greater arts. We recognize 
 in it the master of Francesco di Giorgio and Neroccio di Bartolommeo. It 
 is difficult to understand how so characteristic a work could ever have been 
 given to another master, and yet it was left to the present writer to restore 
 it to Lorenzo di Pietro. In it are to be seen everywhere Vecchietta's 
 peculiar types, the square, old-looking faces, with large noses, high cheek- 
 bones,, and pronounced jaws, he loves to paint. 
 
 By his followers Francesco and Neroccio, there are typical pictures 
 in this collection. Of Francesco there is one charming little panel of his 
 
 c 
 
1 8 Sienese Painting 
 
 early period, Sir Frederick Cook's little " Nativity," as well as a work of his 
 later period, another " Nativity." The later " Nativity" demonstrates that 
 Francesco was influenced by Girolamo da Cremona, who was already paint- 
 ing in Siena in the year 1468. From the brush of one of Francesco's 
 immediate followers is Lady Wantage's beautiful cassone picture, the 
 " Triumph of Chastity." For several years before 1 47 5, 1 Francesco shared 
 a bottega with Neroccio di Landi. Both were loyal followers of their master. 
 We find in their works the same senile types, the same draperies, with fre- 
 quent angular folds, the same elaborated backgrounds, the same affectation 
 in the attitudes of their fair-haired female types. After the quarrel and 
 separation of Francesco and Neroccio in the year 1475, tne older master 
 devoted himself to architecture and military engineering; the younger, a 
 far weaker artist, lived on in Siena for a quarter of a century, repeating 
 continually the same types. His great altar-piece at Montisi, executed in 
 1496, differs but little from his earlier works at Siena, and from the 
 " Madonna," once the property of Mr. Ruskin, in the present collection. 
 
 Benvenuto carried into the sixteenth century the traditions of Vecchietta 
 and the decorative ideals of the early Sienese masters. Even in so late a 
 picture of his as Mr. Sidney's beautiful "Madonna" in this collection, we 
 see in the design of the drapery signs of Vecchietta's influence. But he was 
 harassed by poverty, and often did work below the level of his best 
 achievement. Nevertheless, his finest paintings reveal a feeling for colour 
 and decorative splendour such as is to be seen in the works of few of his 
 contemporaries. Girolamo di Benvenuto at first imitated his father, but 
 subsequently was affected by foreign influences. 
 
 The greatest of the Sienese painters of the Quattrocento was Matteo 
 di Giovanni. A follower of Domenico Bartolo, 2 he was also influenced by 
 Sassetta, and again, in some measure, by his Florentine contemporaries, 
 especially in his later years. From Sassetta he inherited his love of decorative 
 
 1 Milanesi, "Documenti per la Storia dell' Arte Senese," II., 466. 
 
 2 The date of Matteo's birth is unknown, but he must have been yet very young when 
 Domenico di Bartolo died in 1449. Matteo's first signed work bears the date 1470. 
 
Sienese Painting 
 
 19 
 
 splendour and his fine, subtle manner of painting flesh. At the same time his 
 pictures are stronger in modelling and show a greater knowledge of the human 
 form than the works of any of his contemporaries or forerunners in Siena. 
 
 "The Sienese," says a Quarterly Reviewer, "though they had ladies 
 fair and free . . . had no man to paint them." But apart from the induc- 
 tions of scientific criticism, there is documentary evidence that tends to prove 
 that Matteo was a fashionable portrait-painter. In a manuscript volume of 
 poems in the Chigi Library at Rome, is this sonnet : 
 
 " Quando aperse Matteo sua larga vena 
 
 D'ingegno, et mosse el suo leggiadro stile 
 
 Per si vaga formar l'opera gentile, 
 Quale sola in ciel retrasse alma et serena, 
 Tolse ogni loda alia famosa Helena, 
 
 Di Zeusi, et alia dolce effigie humile 
 
 Di Appelle in Cytharea, ch' ogn'altra vile 
 Pictura esser demonstra et d'error piena. 
 
 Perche tacendo parla ascolta et porge 
 Conforto al mio martyr con sua virtute 
 Qualhora a contemplarla el cor si pone; 
 Ma se aggiugnea alle dipinte forze 
 La voce, el respirar, non piu conpiute 
 Sue voglie obtenne mai Pygmaleone ! 1 
 
 Of Matteo's portraits we have an example in this collection. Perhaps 
 she was the very Ginevra to whom the sonnet was written. 
 
 Nor in the painting of portraits did Matteo make his only excursions 
 into naturalism. In his pictures representing the " Massacre of the Innocents " 
 we find the bodies of dead babies painted with a realism which is almost 
 brutal. Something of this same quality is to be found in the representation 
 of the divine Child in Mr. Ruskin's picture in the present collection 
 (No. 42) as in a beautiful Madonna in the Siena Gallery; 2 in both of which 
 pictures the Child was painted from the same model as served for one of 
 the infants in the S. Agostino " Massacre of the Innocents." 
 
 1 Chigi Library, Rome. Codex M.V. 102. This volume contains verses by Benedetto da 
 Cingoli and other poets of the latter half of the Quattrocento. 
 
 2 Siena Gallery, No. 284. 
 
20 Sienese Painting 
 
 Guidoccio Cozzarelli, Matteo's most competent follower, excelled as a 
 miniaturist. The early works of Andrea di Niccolo, who, according to Milanesi, 
 was a pupil of Matteo, belong rather to the school of Vecchietta and show 
 the influence of Neroccio di Bartolommeo. Whilst he was always somewhat 
 of a reactionary, he could not altogether escape the prevalent Umbrian in- 
 fluences in Siena, and his style subsequently underwent some change in his 
 later years. But throughout the sixteenth century the Suor Barbara Ragnoni 
 and the Monache di S. Marta and other pious women still kept alive the old 
 traditions. 
 
 Early in the Cinquecento a series of events happened, which at last 
 
 changed the character of Sienese painting, and substituted new foreign ideals 
 
 The Sienese for the old artistic aims of the native masters which had endured for nearly 
 
 IVIcistcrs of the • 
 
 sixteenth century two anc ^ a ^ a ^ cent uries. I n the year 1501, Sodoma came to Siena, tempted 
 
 thither by offers of employment from the wealthy house of the Spannocchi. 
 In the following year Pintoricchio signed an agreement to decorate the 
 Library of the Cathedral with ten "Histories" illustrative of the life of 
 Aeneas Silvius Piccolomini. A few years later Signorelli and Perugino 
 visited the city. These foreign masters brought about an artistic revolution. 
 The oldest of the Sienese artists who adopted the new manner was Ber- 
 nardino Fungai, who in his earlier days had been influenced by Giovanni di 
 Paolo and Francesco di Giorgio. He worked under Pintoricchio in Rome, 
 and his later works have an Umbrian character. Pacchiarotto, like his 
 master Fungai, at first painted in the old Sienese manner. But ultimately 
 he, too, fell under foreign influence. He was most successful in his smaller 
 panels, some of which, such as the " Four Scenes from the Life of Christ " 
 in Mr. Charles Butler's collection, have the decorative beauty and the naive 
 charm of the works of the earlier Sienese masters. 
 
 Pacchiarotto's contemporary Girolamo del Pacchia, with whom he was 
 long confused by art historians, was an accomplished eclectic. At one time 
 he was an imitator of Raphael, at another of Sodoma. In his early life he 
 
Sienese Painting 21 
 
 visited Florence and Rome; on his return to his native city he assisted 
 Sodoma in the Oratory of S. Bernardino. The " Venus " which is here for the 
 first time, I believe, attributed to him, was obviously painted under the direct 
 influence of the Lombard master. It has the fleshiness of Sodoma's nudes, 
 his morbidezza, and his sentimentality. Not a strong character himself, 
 Pacchia needed a more tonic influence than that of Bazzi. His best work, of 
 which his "Madonna" at S. Cristoforo at Siena is an example, was done 
 under the influence of Raphael and Fra Bartolommeo. 
 
 Insignificant in appearance and of humble origin, Domenico Beccafumi 
 became the most honoured painter of his native city. Who was his master 
 is not certainly known. The really important event in Beccafumi's life was 
 his sojourn in Rome, where he came into contact with the works of 
 Raphael and Michelangelo. Fra Bartolommeo and Leonardo da Vinci also 
 helped to mould his style. But whilst Beccafumi fell under many influences, 
 he never became a mere eclectic like Pacchia. His poorest work has a 
 distinctly personal note. 
 
 He was an extremely prolific artist. Like Benozzo Gozzoli and 
 Domenico Ghirlandajo he had a passion for activity, and turned out a great 
 quantity of work. He had his uninspired moments, and at his worst is 
 banal and wearisome. But his finer works rank among the great achieve- 
 ments of his time; and, in some respects, he was in advance of any of his 
 contemporaries in Tuscany. No Florentine or Sienese working in the 
 early decades of the Cinquecento had so fine a feeling for landscape. It 
 is difficult to believe that the landscape backgrounds of the " Flight of 
 Cloelia" and a picture by Beccafumi in the Duke of Somerset's collection 
 were painted by a Sienese in the first quarter of the sixteenth century. 
 The " Flight of Cloelia," the earlier work of the two, was certainly executed 
 not long after the artist's sojourn in Rome. 
 
 The "Flight of Cloelia" reveals the influence both of Michelangelo 
 and of Fra Bartolommeo — of Michelangelo in its rendering of muscular form 
 and swift movement, of Fra Bartolommeo in its deep rich colour scheme, 
 
22 Sienese Painting 
 
 and in its distant background of blue hills. In his greatest works in his own 
 Siena, the ceiling frescoes of the Bindi-Sergardi Palace and of the Palazzo 
 Pubblico, and the " S. Michael" of S. Maria del Carmine, Michelangelo's 
 influence predominates. But in the case of the frescoes, at least, their com- 
 position and their illustrative qualities show that the artist had not forgotten 
 the lessons he had learned in the Stanze of the Vatican. 
 
 Beccafumi's friend and contemporary, Baldassare Peruzzi, was, it is 
 true, an architect rather than a painter; nevertheless, as a painter he has 
 not the recognition he deserves. The cause of this neglect partly lies in the 
 fact that some of his most important works have been disgracefully repainted. 
 And the attribution to Peruzzi himself of the inferior works of his pupils has 
 further injured his reputation. Peruzzi was a great decorative painter, who 
 had steeped himself in classical influences. With him painting was primarily 
 an adjunct to architecture. No Sienese had ever so clear a conception of the 
 true function of the fresco-painter. Hard in drawing and cold in colour, the 
 frescoes of the Farnesina reveal, nevertheless, a master whose work has an 
 architectonic quality that we look for in vain in the mural decorations of 
 some of the great Florentines of the Quattrocento. 
 
 In painting, Peruzzi was something of an eclectic. In his youth in 
 Siena he assisted and imitated Pinturicchio. The nudes he painted in Rome 
 reveal in an equal measure the influence of Raphael and of Sodoma. As a 
 decorator he owes something to Michelangelo, and something to the artists 
 of classical antiquity, whose works he diligently studied. 
 
 " Domenico Beccafumi and Baldassare Peruzzi were the last Sienese 
 painters of any distinction. Beccafumi was not cold in his grave before the 
 trumpets began to blow for Siena's last battle. The Muse of Painting some- 
 times continues to inspire a poor struggling man, but she does not sojourn 
 long with a poor nation. The experience of Rome and of England has taught 
 us, it is true, that a nation may be rich and powerful, and yet not be pre- 
 eminent in art. But though art will not always make her home with the rich, 
 she will not continue to dwell where riches are not. . . . The Muse and her 
 
Sienese Painting 23 
 
 followers fled the desolate Siena when God hid His face from her — when 
 she cried in vain to the Virgin to intercede for her in her last struggle." 1 
 
 The present collection is an anthology of Sienese painting arranged in 
 something like chronological order. There is no period of the school's 
 history which is not adequately represented by some typical picture. Such 
 a collection, enclosed in one room, is helpful to the student in enabling him 
 to arrive at a general idea of the evolution of this school of painting. Certain 
 conclusions force themselves upon us as we glance round these four walls. 
 We realize that the Sienese had a definite and justifiable artistic ideal — an 
 ideal to which its masters steadfastly adhered for more than two centuries. 
 Look, for instance, at the Madonnas of Lippo Memmi and of Andrea di 
 Niccolo. How small are the differences in the aims and methods of the two 
 masters! It is fallacious to imagine that Renaissance sculptors like Neroccio 
 could not in time have drawn and modelled like their contemporaries in 
 other cities had they set themselves to do so. Men will always do them less 
 than justice until they realize that the Sienese painters simply did not choose 
 to follow the broad road trodden by their fellow artists. The master who 
 made the statue of St. Catherine of Alexandria in the Duomo at Siena, and 
 who had a Madonna by Donatallo in his bottega, followed deliberately in 
 painting the ideals which Duccio derived from the Byzantine miniaturists 
 and which were realized by Simone Martini. A hieratic sumptuousness 
 and dignity, religious emotion expressed in graceful line and rich, bright 
 colour — those were still the qualities of the most typical Sienese pictures 
 when, in the wane of the Quattrocento, Benvenuto painted the Madonna 
 and Angels of this collection. 2 
 
 We have here, then, an anthology of lyrics — of lyrics composed, for the 
 most part, in honour of the Lady of Siena, the city's divine protectress, 
 with here and there, interspersed throughout the volume, some litanies of 
 the Passion, and a song or two in praise of some earthly lady. 
 
 1 Douglas, "A History of Siena," pp. 415, 416. 2 No. 50. 
 
PART II 
 
 THE MINOR ARTS OF SIENA 
 
 Majolica. F the minor arts, that which is best represented in this 
 
 collection is the art of majolica. Some years ago, in an 
 article in the " Nineteenth Century," I sought to show that 
 Siena was one of the oldest and most important of the 
 centres where artistic wares were produced. Since that article was pub- 
 lished, I have collected a good deal of evidence which confirms that con- 
 clusion. It can now be demonstrated that those fabbriche of Siena in 
 which the most beautiful pieces were made, were large potteries employing 
 many craftsmen, and that a great variety of artistic wares was manufactured 
 in the city, amongst which were multitudinous copies of classical vases, as 
 well as lustred pieces. 
 
 It was only natural that Siena should become an early centre of this 
 art upon its revival in Italy. The country round the city produced excellent 
 materials for the potter. From the clay obtained in its neighbourhood 
 could be made a body of good hard quality, whilst in the contado was 
 also found the white terra di Siena, most prized of all the substances 
 that were used by Italian potters as a slip to cover the surface of the mezza- 
 majolica, before its decoration and the application of the transparent glaze. 
 We are not surprised, therefore, when we find this manufacture the subject 
 of regulation in the great Sienese statute of 1262. " No Sienese," the clause 
 runs, " shall have or hold, within the city's walls, any furnace in which pottery 
 is baked." This stringent prohibition was, however, soon relaxed, for fifty 
 years later we find many potters the owners of furnaces within the walls ; 
 and ultimately there was a large colony of vasai near the San Marco gate in 
 the south-west corner of the city. 
 
 That some of these potters produced artistic wares can no longer be 
 
The Minor Arts of Siena 
 
 2 5 
 
 doubted. In certain Sienese inventories of 1291 and 1293, published by Pro- 
 fessor Zdekauer in his " Vita privata dei Senesi " we find mention of painted 
 wares. In a document, too, of the year 1298 in the Archives of Siena there 
 are allusions to glazed and painted earthenware. Fragments of mezza- 
 majolica have frequently come to light in the city. And in pictures of 
 Duccio and Ambrogio Lorenzetti, executed in the first quarter of the four- 
 teenth century, there are representations of beautiful jugs, vases, and pots, 
 bearing in some cases oriental designs. 
 
 The names of many potters are found in documents of the early half of 
 the Quattrocento; and it was probably about the middle of that century that 
 the so-called oak-leaf jars were first fashioned in Siena. I do not contend 
 that all jars bearing this oak-leaf design were made there. In the fifteenth, 
 as in the following century, potters were a migratory folk ; and a method of 
 decoration introduced into one pottery was doubtless soon copied in another. 
 There are, however, distinct reasons for concluding that some of these jars 
 were made in the city. In the first place we find upon some of them, such 
 as the jar in this collection, 1 the badge of the great Sienese Hospital of S. 
 Maria della Scala. It has been urged that these vases may after all be of 
 Florentine origin, because there was a small hospital having a similar badge 
 at Florence. But the probability lies the other way. If documents prove any- 
 thing they show that at this time Siena was a more important centre of 
 ceramic manufacture than Florence. The Sienese Hospital was a very large 
 and thriving institution ; and we know from its account books that the 
 governing body was wont to employ the most artistic potters to make the 
 drug pots and vases used there. An oak-leaf jar, smaller, but of similar form 
 to that in this collection, still remains in the Ospedale at Siena. Owing, in 
 a measure, to the influence of S. Bernardino, the Ospedale was especially 
 prosperous at this period, and received large donations from the citizens. 
 
 Again this oak-leaf pattern is a variation of a design to be found on 
 some of the wares of Valencia. Now Siena is the only centre of the art of 
 
 1 Case B, No. 12. 
 D 
 
26 
 
 The Minor Arts of Siena 
 
 which we know, from documentary evidence, that any of its majolica-artists 
 had direct relation with Valencia. And though the document that proves 
 this belongs to a later date than the period when the oak-leaf jars were 
 made, it is nevertheless certain, that from an early period Sienese artists had 
 shown a strong affinity for the designs and technical methods of oriental art. 
 The Sienese loved to have oriental things in their houses. It is in Sienese 
 pictures that we find the earliest representations in the art of the Renaissance, 
 of the metal jugs and ewers of Mosul, of Syrian silks, and of such beautiful 
 eastern carpets as that which is below the Virgin's throne in Ambrogio's 
 beautiful little Madonna in the Siena gallery. 
 
 It is possible that it was Sienese artists who began the manufacture of 
 these oak-leaf jars in other towns. For in the middle of the fifteenth century 
 stress of competition within the city now began to drive Sienese artists to 
 seek their fortunes abroad. We learn, for example, that in the year 1462 a 
 Sienese artist, Ventura di Maestro Simone de' Piccolomini, set up a pottery at 
 Pesaro on the other side of the Apennines. The Bettini, too, the artists who, 
 in the year 1480, made the earliest known pavements of tiles of Faenza in 
 S. Petronio at Bologna, were probably members of a family of potters of the 
 Sienese contado, a family that had a fabbrica in that early seat of ceramic 
 manufacture, Asciano. 
 
 Notwithstanding the migration of some of their fellows, the ceramic 
 artists of Siena still felt the pressure of competition. They began, therefore, 
 to seek to persuade the government of the Republic to consent to protective 
 measures. In a petition of the year 1476, they pointed out that there were 
 sixteen potteries in the city, that they were well managed, and produced 
 more wares of good quality than sufficed to satisfy the requirements of the 
 citizens. They asked that a heavy tax should be put upon foreign pottery. 
 This request was acceded to, and only the majolica of Malaga and Valencia 
 was exempted from the duty. 
 
 It was about this time that the Sienese began to bring to perfection the 
 manufacture of those ambrogette, or painted tiles, for which the city is famous. 
 
The Minor Arts of Siena 
 
 27 
 
 In the year 1488, Niccolo and Lorenzo Mazzaburroni made the beautiful 
 tiles of the Bichi chapel in S. Agostino at Siena. A considerable portion of 
 this pavement is still to be seen in the chapel. They are ornamented with 
 leaves and trophies, and are well designed and well made. They prove that 
 the Siena fabbriche were in no way inferior to those of any other city. 
 
 In this age and in the early years of the fifteenth century many Sienese 
 buildings were similarly adorned with ambrogette. Already, in 1480, the 
 Oratory of St. Catherine in Fontebranda had been paved with tiles. Twenty 
 years later, in 1 502 and 1 504, this pavement was renewed, no doubt with 
 ambrogette of finer quality ; and about the same time the Piccolomini Library 
 in the Duomo was paved with tiles. 1 In the year 1509 the new palace of the 
 tyrant of Siena, Pandolfo Petrucci, was similarly adorned ; and, at a later 
 date, the Piccolomini chapel in S. Francesco was decorated with painted 
 tiles from the local potteries. 
 
 That the potter who made these tiles produced other classes of artistic 
 wares cannot be doubted. It is probable, for example, that the artist who 
 designed the tiles for the Piccolomini Library, which Pius III. decorated, 
 made also majolica plates for that Pope. In this collection is a large 
 plate, the property of Mr. Pierpont Morgan, which is adorned with the 
 same decorative border as the Library tiles, and has the same technical 
 qualities. This piece must have been designed in the year 1503, during the 
 short period of Pius III.'s tenure of the papal chair. Probably Francesco 
 Piccolomini ordered a new service from an artistic pottery in his native city 
 about the date of his election. 
 
 As Sienese potters had gone forth from Siena to introduce their designs 
 and technical processes into other cities, so wandering artists from other 
 centres of the art found their way to Siena. As early as the year 1455, we 
 find the names of a certain Evangelista di Michele, " pictor vasorum," and his 
 brother Tommaso, in the Sienese archives. There are grounds for believing 
 that these artists probably came from the pottery of Maestro Niccolo of 
 
 1 See Case A, Nos. 8 and 9. 
 
28 
 
 The Minor Arts of Siena 
 
 Faenza. The most famous of these Faventine immigrants was that Maestro 
 Benedetto whose blue plate, a porcellan, is one of the glories of the South 
 Kensington collection. 1 He was the son of a certain Maestro Giorgio of 
 Faenza and seems to have come to Siena as a young man, about the year 
 1503. He settled in the potters' quarter near the S. Marco Gate, and seven 
 years later joined the great Sienese Sick and Burial Society, the Compagnia 
 di S. Lucia. In the year 1522 he became Consul of this confraternity. 
 
 When I first instanced the works of Maestro Benedetto as proofs of 
 the high character of the wares produced at the Sienese potteries, some 
 objector said that only one existing piece was indubitably made by Benedetto, 
 and that his pottery was possibly a very small establishment, producing but 
 a few fine pieces. At first it was only possible to bring forward stylistic 
 arguments in reply to such a contention. I could only point out such works 
 as the other beautiful plate a porcellan in this collection, 2 which seemed to 
 be by the same hand as the one signed piece of Benedetto. It can now be 
 proved by documentary evidence that Maestro Benedetto's pottery pro- 
 duced large quantities of wares. The account books of the Hospital of 
 S. Maria della Scala 3 show that in one year, in 15 18, he made nearly two 
 thousand pieces for this institution alone. Amongst them we find many 
 large and important plates as well as the little drug-pots with a yellow 
 ground, so well known to collectors. 4 An entry two years later in date con- 
 tains almost as long a list of goods provided. I know of no other pottery of 
 this date in any city in Italy producing pieces of equal excellence which can 
 be proved to have had so large an output. 5 
 
 Potters came to Siena from Urbino as well as from Faenza. Giulio 
 d'Urbino, an artist praised by Vasari, sojourned in Siena. Fedele, another 
 
 1 See Case B, No. 1. 
 
 2 Case B, No. 6. 
 
 3 Arch, di Stato, Siena. Archivio dello Spedale di S. Maria della Scala, " Notabili," vol. iv., 
 1518-1744, fol. 4it. See also fol. 104. I shall shortly publish in full Maestro Benedetto's 
 accounts with the Hospital. 
 
 4 Two works of this class are in the present collection, Case B, Nos. 2 and 5. 
 
 5 For further particulars of Maestro Benedetto, see my " History of Siena," p. 444. 
 
The Minor Arts of Siena 
 
 29 
 
 compatriot, settled in the city, and patented there a new process for making 
 vases adorned with a kind of pdte-sur-pdte decoration on a black ground. 
 
 But numerous as were the immigrant potters in Siena, as in every 
 other centre of the art — for the potters were a migratory race — the local 
 potters far outnumbered them. In the year 1529, when they compiled new 
 statutes of their art, there were, in the city, sixteen chief master potters as 
 well as several lesser masters. The industry became of such importance 
 that the local guild was given permission to organize two annual fairs, one 
 on the feast of St. Mark, the other on the feast of SS. Philip and James. 
 Moreover, the native-born masters produced large quantities of artistic 
 wares, and showed even more spirit in their efforts to improve the quality 
 of their productions than did the immigrant artists, thus proving themselves 
 to be worthy successors of the early potters of Siena. In an inventory of a 
 certain Sienese potter, Giovanni Battista di Luca, we find mention of large 
 quantities of artistic pieces. It tells of "large plates" " dipenti a fregi," of 
 scodelle, of drug pots, and of decorated tazzoni. It was, perhaps, this 
 Giovanni who painted those beautiful series of plates with the signature 
 I. P., of which two examples are to be found in this collection, one from the 
 Victoria and Albert Museum, the other from Mr. Salting's collection. The 
 plate belonging to the Victoria and Albert Museum bears a representation 
 of St. James the Great, that in Mr. Salting's collection a representation of 
 St. Mary Magdalene, whilst on another plate of the series in the British 
 Museum is the figure of St. Bartholomew. Not only is the pattern of 
 grotesques on an orange ground which decorates these plates characteristic 
 of Siena, and similar to the decorations of some of the Sienese ambrogette\ 
 in details of drawing, and in their technical qualities, these pieces also reveal 
 their Sienese origin. The signature I. P. may well stand for Johannes 
 Pinxit. A piece from South Kensington, not bearing this signature, but 
 obviously by the same hand, is in the present collection (Case B, No. 1 1). 
 
 The Sienese proved themselves to be very enterprising in seeking to 
 fathom the ancient secrets of their art. They set themselves to discover the 
 
The Minor Arts of Siena 
 
 methods of the ceramic artists of classical antiquity as well as the mysteries 
 of the Hispano- Moresque artists. I have told elsewhere the story of Galgano 
 di Belforte. 1 Tizio, the Sienese chronicler, writing in the year of this heroic 
 artist's return to his native land, 2 tells us how he ran great risks in order to 
 acquire a complete knowledge of the lustre process. Going to Valencia, he 
 disguised himself in vile apparel, and obtained some mean position in the 
 establishment of a master potter; and, having learned the secret of this mode 
 of decorating glazed earthenware, he returned in the year 15 14 to his native 
 city. Probably his first essays in his newly-acquired art were copies of pieces 
 made in Valencia. There is in the British Museum a lustred piece, 
 thoroughly Sienese in character, which bears the name Gano in a monogram. 
 It is, perhaps, one of Galgano's later productions. It is not too much to 
 assume that the improvements in the lustre process introduced into Italy by 
 this artist helped to make possible the finest works of Maestro Giorgio. 
 And no doubt many of the pieces attributed to Maestro Giorgio and to 
 the fabbrica of Gubbio, as well as some pieces assigned to Valencia, are in 
 reality works of Galgano di Belforte. 
 
 The Sienese also successfully imitated the black vases of classical 
 antiquity. Documents that have recently come to light prove that these 
 black vases were made in large quantities in Siena. 3 In the year 1527 the 
 Sienese were seeking to induce Charles V to leave them to enjoy their 
 dearly-won liberty. Believing that his minister, the great Cardinal Granvella, 
 was favourably disposed to the republic, they sought to bribe him secretly 
 to give active support to their cause. Through one of their ambassadors 
 they offered him a thousand golden scudi. This bribe the great man refused; 
 but on being pressed a second time he said that he liked very much the 
 black vases "a Pantica" made in Siena, and that he would accept some of 
 these if they were offered to him. Whereupon the ambassador, Mario 
 
 1 Douglas, "History of Siena," p. 451. 
 
 2 Tizio, " Historia," Tom. vii., p. 484, anno 1514. 
 
 3 See " Notizie per la storia della ceramica in Siena," in the " Miscellanea Senese di 
 erudizione Storica," Anno vi., N. 5-6. 
 
The Minor Arts of Siena 3 1 
 
 Bandini, said that he would see that his masters the Governors of the 
 Republic sent the Cardinal one thousand of the finest pieces that could be 
 made. Maestro Alessandro di Bernardino di Niccolo, who lived in S. Marco, 
 was commissioned to make the vases for the imperial minister. 
 
 In the houses of some great families of Sienese origin are to be seen 
 quantities of black vases, said to be antiques. There are a great many 
 pieces of this kind in the Chigi Palace in Rome. It is probable that many 
 of these pieces are imitations made in Siena at the time of the Renaissance. 
 The works of Galgano di Belforte, and of this Maestro Alessandro, demon- 
 strate the artistic vitality of the ceramic artists of Siena, their eagerness to 
 learn new processes, and to make works of the finest quality. 
 
 Siena, like other centres of the art, was visited by wandering artists 
 from other cities, but the fabbriche there never lost their own peculiar 
 characteristics. The Sienese majolica has a certain character of its own, a 
 certain individuality which only now we are beginning fully to distinguish 
 and to realize. 
 
 After the fall of Siena the local manufacture of pottery declined. The 
 art, in fact, was already on the wane everywhere in Italy, and at Siena the 
 fall of the Republic but hastened its decadence. For more than half a 
 century, however, the Sienese continued to make the beautiful ambrogette 
 for which their city was famous. About the year 1600, Maestro Girolamo 
 di Marco Gioschi entirely restored the pavement of the oratory of St. 
 Catherine, renewing the greater part of it. In the seventeenth century the 
 art of majolica did not entirely die out in the city; and in the following 
 age it experienced a brief revival under Ferdinando di Giovan Battista 
 Campani, who decorated plates and plaques with paintings after Raphael 
 and the Caracci, and Marcantonio Raimondi. There are several pieces by 
 this master in our public collections which well represent his achievement. 
 
 What then were the most important qualities of the majolica of Siena 
 of the best period, the period of Maestro Benedetto ? 
 
 First of all, like the mezza-majolica of Siena, it is remarkable for the 
 
3 2 
 
 The Minor Arts of Siena 
 
 excellence of its materials. We find a hard, and, as a rule, somewhat light- 
 coloured body, covered by a clear, fine glaze. Secondly, we note a prefer- 
 ence for yellow backgrounds in the tiles and the drug-pots, and on the 
 borders of the plates of this pottery. Thirdly, we see a predilection for 
 grotesques, arabesques and trophies, as well as for free adaptations of 
 Hispano- Moresque patterns painted in blue on a white ground. Fourthly, 
 we find a certain niceness, neatness and love of finish in the authentic 
 pieces of the fabbrica. There is little of the free, loose drawing, little of the 
 barbaric splendour that characterizes the designs on many Urbino plates of 
 the same period. 
 
 It is true that each one of these qualities taken by itself may be found in 
 the works of other fabbriche. It is the combination of two or three of them 
 that marks a piece as belonging to the Siena pottery. 
 
 Miniature The Sienese school of painting, as we have seen, took its origin from 
 amting. miniaturists, and throughout its history representative Sienese painters 
 practised missal-painting. There were miniaturists in Siena in the thirteenth 
 century, but no existing work can be assigned to any one of them. The 
 first artist whose achievement is known to us is Niccolo di Ser Sozzo 
 Tegliacci, whose beautiful frontispiece to the Caleffo dell' Assunta in the 
 Archivio at Siena is one of the best works of its class and period. Simone 
 Martini, and his followers, Lippo Memmi and Lippo Vanni, also practised 
 miniature painting, and two books decorated by a follower of Memmi still 
 exist in the Collegiata at S. Gimignano. 1 
 
 Some of the most distinguished Sienese artists of the Quattrocento 
 practised miniature painting, Giovanni di Paolo del Poggio and Vecchietta, 
 Sano di Pietro and Benvenuto di Giovanni. The books illuminated by 
 Sano at Siena and Bologna, and the paintings on vellum of Giovanni 
 di Paolo are works of an exquisite quality. Pellegrino di Mariano and 
 
 1 There is an example of this artist's work in the Hertford House Collection. This master 
 was not Niccolb di Ser Sozzo Tegliacci, as some authorities maintain. 
 
The Minor Arts of Siena 
 
 33 
 
 Guidoccio Cozzarelli also practised the art of miniature; and, in the 
 sixteenth century, Sodoma's pupil, Riccio, adorned several choir-books with 
 paintings. 
 
 On the importance of the goldsmith's work of Siena, there is no need Goldsmiths' 
 to insist. The great tabernacle of the SS. Corporale at Orvieto, and other Work- 
 pieces by early Sienese artists in that city, the finely-wrought examples of 
 Sienese goldsmith's work in the Cathedral Treasury at Massa Marittima, 
 the reliquary of S. Galgano, and the pastoral staff of the abbot of that 
 Cistercian Monastery — these and many other similar objects bear witness 
 to the fact that, from the thirteenth to the sixteenth century, Siena was one 
 of the most important centres of this art in Southern Europe. 
 
 Already in the period of Montaperti, the fame of Siena's goldsmiths 
 had extended far beyond her own contado. It was Sienese artists who 
 fashioned some of the lovely things which adorned the sacristy of Sant' 
 Jacopo at Pistoia, the sagrestia dei begli arredi sung by Dante. In and 
 about the year 1260, Maestro Pace di Valentino, a distinguished craftsman 
 of Siena, made a chalice and other splendid things for the treasury of the 
 Pistoian church. 1 
 
 In the age of Duccio, Sienese artists were the official goldsmiths both 
 of Pope and Emperor. Lando di Pietro, who was destined to become one 
 of Italy's greatest architects, made the imperial crown for Henry VII. The 
 goldsmith of the papal court at Avignon from the year 1307 to the year 
 1320, was Magister Torus. But the Sienese artist of this period whose 
 work is pre-eminent was Ugolino di Vieri, who made the great tabernacle 
 of Orvieto. 
 
 In the latter half of the fourteenth century, the Popes continued to 
 employ Sienese goldsmiths. For eighteen years, from 1 367 to 1 385, Giovanni 
 di Bartolo was the goldsmith of the papal court, making the Golden Rose 
 
 1 Zdekauer, "Opere d' arte Senese a Pistoia," in the "Bull. Sen. di Stor Patria," 1901, 
 fasc. i., pp. 176, 177. 
 
 E 
 
34 
 
 The Minor Arts of Siena 
 
 for the Pope, as well as fashioning for him chalices and thuribles and 
 images. 
 
 The objects in this collection made by Sienese goldsmiths almost all 
 belong to the fifteenth century. The beautiful " Girdle " lent by Mr. Fitz- 
 henry belongs to the age of Turino di Sano and his son Giovanni Turini. 
 Giovanni, the assistant of Jacopo della Quercia, excelled in the art of enamel. 
 The little holy-water stoup at the entrance to the sacristy of the Duomo, 
 the figures of Charity, Justice and Prudence on the font of S. Giovanni, the 
 holy-water basin in the Palazzo Pubblico, are his chief remaining works in 
 Siena. Goro di Ser Neroccio, Giovanni's rival, executed the figure of 
 Fortitude on the font of S. Giovanni, as well as the reliquaries for the Siena 
 Hospital and the Cathedral of Massa. 
 
 The three enamelled crucifixes in this collection belong to a later period, 
 to the age of Francesco d'Antonio, the artist who made the reliquary of St. 
 John Baptist, which is preserved in the chapel of the Saint in the Siena 
 Cathedral, and the simpler casket for the relics of S. Bernardino, which is 
 at the convent of the Osservanza. 
 
 In the sixteenth century, the art of the goldsmith declined in Siena. 
 In that age Francesco Castori, mentioned by Cellini, and Vasari's friend, 
 Giuliano di Niccolo Morelli, were the degenerate successors of the great 
 Sienese goldsmiths of earlier days. 
 
 The Art of the Siena produced only one great medallist, the versatile Pastorino Pas- 
 torini. Pastorino was the son of a village shoemaker. H is father apprenticed 
 him to Guillaume de Marseilles, a distinguished artist in stained glass, who 
 was then working at Arezzo. While yet a very young man, Pastorino 
 executed important works in stained glass in the Duomo of Siena. As 
 he approached middle life, Pastorino began to make portraits in relief 
 in stucco and coloured wax. And finally he set to work in earnest as a 
 medallist. About the middle of the century he left Siena and entered the 
 service of the Duke Ottavio Farnese. Two years later he became master 
 
The Minor Arts of Siena 
 
 35 
 
 of the mint to Ercole II. of Ferrara. Subsequently he worked for the 
 Lords of Novellara, and for the Duke Francesco at Florence. He was a 
 very prolific medallist. " He has copied all the world," says Vasari, "and 
 persons of all kinds, great nobles, distinguished artists, and persons unknown 
 or of low degree." 
 
 Pastorino was a great master of portraiture, and excelled in his pre- 
 sentations of women and youths. He had not the strength and virility of 
 the great medallists of the Quattrocento, but his works are seldom lacking 
 in subtlety, grace and charm. 
 
 The art of wood-carving was early practised in Siena, and signed ex- Wood-carving, 
 amples of Sienese wood-carvers of the Trecento have been found east of 
 the Apennines. But it was only in the last century and a half of her 
 history as an independent state that Siena produced any important examples 
 of this art. Amongst the Sienese artists who worked in wood in the days 
 of Jacopo della Quercia, and in the succeeding generation, Domenico di 
 Niccolo and Pietro del Minella were pre-eminent. Domenico made the 
 beautiful intarsia work which adorns the chapel of the Palazzo Pubblico, 
 and Pietro del Minella and his brothers carved the wooden statues now in 
 the choir of the church of S. Martino, and also executed the stalls for the 
 chapel of the Hospital. 
 
 The greatest Sienese wood-carver was Antonio Barili, who flourished 
 in the early years of the Cinquecento. His organ front and his cantoria 
 still adorn the Siena Cathedral; and a picture-frame by this master is to be 
 seen in the church of S. Maria degli Angeli outside the Roman gate. Of 
 the school of this artist is the carved frame in this collection lent by the 
 authorities of the Victoria and Albert Museum. It illustrates the decorative 
 qualities of the achievement of the Marrina of wood-carving. 
 
 LANGTON DOUGLAS. 
 
Three Books of Photographs of Pic- 
 tures by Sienese Masters are placed 
 on the table in the centre of the Gallery. 
 
CATALOGUE 
 
 PART I 
 
 PICTURES 
 
 DUCCIO DI BUONINSEGNA. 
 1255— 1319. 
 
 1 and 7 Four Scenes from the Life of Christ. 
 
 (1) " / that speak unto thee am He!' Christ on the left, seated on a well-head, 
 speaks to the Woman of Samaria who stands in the centre, clad in white, an 
 earthen pitcher on her head, and a bucket and cord in her hand. Behind are four 
 disciples, issuing from the arched gateway of the town, and bearing bread in their 
 cloaks. 
 
 (2) " Get thee behind me, Satan." Christ on the right, in blue cloak edged with 
 gold, stands upon the Mount, reproving Satan who points out to Him all the 
 Kingdoms of the World, represented by walled Cities. Behind Christ are two 
 ministering angels. 
 
 (3) " Lazarus come forth." Christ on the left, foremost of a group of twenty- 
 five persons, stands in front of the tomb Before him kneels Mary, Lazarus' sister, 
 in a scarlet robe, with Martha, disciples and others standing by. Lazarus is risen 
 and comes forth, bound in grave clothes, from the tomb hewn out of the rock. 
 
 (4) " Follow me and I will make you fishers of men" Christ on the left stands 
 upon a rocky place by the seashore, and beckons to Andrew and Peter who are 
 standing up in their boat. Their net, full of fishes, is drawn to the boat's side. 
 
 These panels once formed a part of one of the two predelle of the great 
 altar-piece Duccio executed for the cathedral of his native city. The Majestas 
 was painted between the years 1308 and 13 11, when the master was in the full 
 maturity of his powers. " He was liberally paid for his work, and was given a 
 
Pi&ures of the School of Siena 
 
 free hand by his employers. To all who love Sienese art, it is a continual cause 
 of regret that they cannot now see this work in its entirety; and that they can 
 only look upon it in a mutilated state, amidst incongruous surroundings, in the 
 Opera del Duomo at Siena. In the age of St. Catherine it was the most splendid 
 altar-piece in Italy. 
 
 " This work represents, as regards its form, a new development in art. It is 
 one of the first, if not the first, of the large altar-pieces made in tiers and com- 
 partments, which became so much the vogue before the close of the fourteenth 
 century. Let me briefly describe it. This ancona was painted on both sides, and 
 adorned a double altar like that in the Lower Church, at Assisi. On the side 
 facing the nave was a large representation of the Virgin and Child, surrounded 
 by a great company of saints and angels. Above this picture, in small painted 
 niches, were half-figures of ten apostles, five on either side. Above these figures 
 again, in small compartments with angular heads, were eight scenes from the life 
 of the Virgin, six of which are still at Siena. On the gradine were seven scenes, 
 from the early life of Christ, beginning with the " Nativity," now at Berlin. 
 Between each of these scenes was a single figure of a saint. On the other side of 
 the altarpiece, facing the east end of the church, were thirty-four pictures in rows, 
 representing scenes from the last days of Christ's earthly life. The series began 
 at the bottom of the altar-piece, and finished with the six scenes in the 
 architectural framework above. 
 
 " It will be noticed that in the picture, as I have described it so far, and as it 
 is described by my learned friend, the Cav. Alessandro Lisini, and all earlier 
 authorities, there is a gap in the gospel story. The last event depicted in the 
 gradine, on the side facing the nave, is the miracle of Cana. The first on the main 
 panel of the altar-piece on the other side is Christ's entry into Jerusalem. Some 
 years ago I arrived at the conclusion that the four panels belonging to Mrs. Benson, 
 and one at least of the panels in the National Gallery, formed part of the great 
 Majestas, being some of the scenes of the large predella on the east side of the 
 double altar. This predella consisted of seven pictures, in which were depicted some 
 of the most important events of the public ministry of Christ previous to the days 
 of ' His Passion ' — the ' Temptation,' the ' Call of St. Peter and St. Andrew,' 
 ' Christ and the Woman of Samaria,' the ' Transfiguration,' the ' Curing of the 
 Man born Blind,' the ' Resurrection of Lazarus,' and probably one representing 
 Christ's office as a teacher." 1 
 
 In the four predella pictures in this Exhibition, as in the other works of 
 Duccio, we find evidences of three distinct influences upon him. Three of the 
 pictures — the " Christ and the Woman of Samaria," the " Resurrection of Lazarus," 
 and the "Call of St. Peter" — show strong traces of Byzantine influence in their 
 composition, in some of their types, and, above all, in their technical qualities. 
 
 ' Douglas, " Duccio." In the " Monthly Review," August, 1903. 
 
PiEiures of the School of Siena 
 
 39 
 
 But even in these the old convention has passed through the alembic of a potent 
 artistic idiosyncracy, and of an idiosyncracy that has been powerfully affected by 
 northern influences. In the architecture in the " Woman of Samaria," in the trees 
 in the " Resurrection," we find evidences, slight but significant, of the new spirit in 
 art. The remaining picture, the " Temptation," is pronouncedly Gothic in feeling. 
 We are reminded of Duccio's representations of animals in the Berlin " Nativity," 
 of the background of the " Healing of the Man born Blind " at the National 
 Gallery. " It has just the same qualities that we find a century later in Lorenzo 
 Monaco's drawings of the 'Journey of the Magi' and the 'Visitation.' In its 
 eerie mysticism, in its exuberant imaginative power, it recalls to us the reliefs 
 executed by the nameless Gothic sculptors of the great French and German 
 cathedrals. The figure of the Christ is only superficially neo-classical. And 
 northern and Gothic as is the architecture in the ' Cities of the World,' it is not 
 more Gothic or northern than the sentiment of the whole picture, or than that 
 near relative of the devils of the northern sculptors, Duccio's ' Satan.' " 1 In the 
 dignified representation of Christ we find traces of the influence of the Roman 
 school, and Roman influences also reveal themselves in the representation of the 
 crowd in the " Raising of Lazarus." But nowhere in these panels, or, in fact, in 
 the whole altar-piece, do we find such strong evidences of Roman influence as in 
 that beautiful work of Duccio's early middle period — the Triptych in the Royal 
 Collection. 
 
 Panels, on gold ground, 17 by inches each. 
 
 Lent by Mrs. Robert Benson. 
 
 UGOLINO DA SIENA. 
 
 Working in the closing decade of the thirteenth century 
 and in the early part of the fourteenth. 
 
 2 Two Apostles. 
 
 The two apostles are represented in half-figure, in small gothic compartments. 
 The saint on the right is probably St. James the Less. On a frieze, or border below, 
 are three small heads in roundels. 
 
 Panel, on gold ground, including frame, 26| by 24 inches. 2 
 
 Lent by H. Wagner, Esq. 
 
 1 Douglas, " Duccio." In the " Monthly Review," August, 1903. 
 
 2 The following Extract is taken from the Catalogue of the Royal Academy Exhibition of Old 
 Masters of the year 1878 : 
 
 " Gallery No. IV. The first sixteen pictures in this room (Nos. 175-190) are all portions 
 of the altar-piece which, according to Vasari, Ugolino da Siena painted for the high altar of 
 the Church Sta. Croce at Florence. It is believed to have been removed from the altar to 
 make way for the ciborium erected after the designs of Vasari himself ; Delia Valle discovered 
 
4 o 
 
 Pi&ures of the School of Siena 
 
 UGOLINO DA SIENA. 
 
 3 Two Angels. 
 
 In each of the spandrels of an ogival arch is a representation of an angel. 
 Panel, on gold ground, including the frame, 12\ by 23^ inches. 
 
 Lent by H. Wagner, Esq. 
 
 DUCCIO DI BUONINSEGNA. 
 I2 55— I 3 I 9- 
 
 4 The Crucifixion. 
 
 In the centre is Christ, a white, transparent cloth thrown round his loins. 
 The face is somewhat larger in proportion to the figure than is the face of Christ 
 in the " Crucifixion," which formed a part of Duccio's great altar-piece and 
 is now in the Opera del Duomo at Siena. On either side are two thieves, each 
 having his arms tied round the transverse beams of the cross, and not fastened to 
 it by a nail through each of his hands, as in the Siena Crucifixion. Round the 
 Saviour float six angels. Below, on the left, stand St. John, the three Maries, and 
 four other Women, a graceful group and charming in colour. On the right are 
 
 it in the dormitory of the neighbouring convent, and it was sold to Mr. W. Y. Ottley at the 
 beginning of the present century. At the sale of the Ottley Collection, in 1847, the various 
 portions were dispersed. 
 
 The altar-piece, as was the custom in the fourteenth century, consisted of a number of 
 single panels, set in a frame of Gothic architecture. There were seven principal panels, of 
 which the centre represented the Virgin and Child, and the others the half figures of six saints ; 
 above each, and forming part of the panel, were two angels : two of these panels are here ex- 
 hibited (Nos. 180 and 185). The two angels, represented in No. 183, formed part of another 
 of the principal panels. Above these again were another series of panels, each with two small 
 half-length figures of saints: of these, four are here (Nos. 176, 181, 182 and 189). The whole 
 was surmounted by seven points in the shape of Gothic gables, each adorned with the half- 
 figure of a saint or prophet: of these, two are here (Nos. 175 and 190). Beneath the principal 
 panels were the predella pictures, each containing the representation of an important event 
 in the life of Christ: of these all seven are here (Nos. 177, 178, 179, 184, 186, 187 and 188). 
 
 All the pictures are painted in tempera on a gold ground. 
 
 175 A Saint. Small half-figure. Panel, \Z\ by \o\ inches. Lent by Rev. J. Fuller Russell. 
 
 176 Two Saints. Small half-figures, in Gothic compartments, of St. James on left, and St. 
 
 Philip on right. Panel, 24 by 21 inches. Lent by Rev. J. Fuller Russell. 
 
 177 The Last Supper. Panel, 13^ by 21 inches. Lent by Rev. J. Fuller Russell. 
 
 178 The Betrayal. Panel, 13] by 21 inches. Lent by Rev. J. Fuller Russell. 
 
 179 The Scourging. Panel, I3^by2i inches. Lent by Rev. J. Fuller Russell. 
 
 180 St. John the Baptist. Half-figure; two angels above. Panel, 48 by 21 inches. 
 
 Lent by Cyril B. Harcourt, Esq. 
 
 181 Two Saints. Small half-figures, in Gothic compartments. Panel, 17 by 21 inches. 
 
 Lent by Rev. J. Fuller Russell. 
 
PiSlures of the School of Siena 41 
 
 the Soldiers and the Scribes and Pharisees. The Centurion, a fine figure, points 
 to the crucified Christ. 
 
 This picture belongs to the Master's last period. But it is of a somewhat 
 earlier date than the great Majestas. Some of the figures, and especially the 
 St. John, recall the best works of Duccio's most faithful follower, who was, it is 
 believed, his nephew, Segna di Buoninsegna. 
 
 Panel, on gold ground, 24 by 1 5^ inches. 
 
 Formerly in the Bammeville and Bromley Collections. 
 
 See Crowe and Cavalcaselle " Storia della Pittura in Italia," Florence, 1899, 
 vol. Hi., p. 24. 
 
 Exhibited at the Exhibition of Early Italian Art at the New Gallery, 1893-4. 
 
 Lent by the Earl of Crawford, K. T. 
 
 DUCCIO DI BUONINSEGNA. 
 1255— I 3 I 9- 
 
 5 Triptych: Crucifixion. 
 
 In the central panel is the Crucifixion. Two angels float above the upper 
 arms of the cross. On the left stands the Virgin looking down, on the right St. John 
 looking up at the Christ. 
 
 On the left wing two scenes are represented. In the upper part of the panel 
 is the Annunciation. Mary Virgin stands at the door of the house. The angel 
 swiftly approaches her and delivers the salutation. In the lower part of this wing 
 
 182 Two Saints. Small half-figures, in Gothic compartments, of St. Bartholomew on left 
 
 and St. Andrew on right. Panel, 18 J by 19 inches. 
 
 Lent by the Earl of Crawford. 
 
 183 Two Angels. Panel, 10 by 20 inches. Lent by Rev. f. Fuller Russell. 
 
 184 The Procession to Calvary. Panel, 13^ by 21 inches. 
 
 Lent by Rev. f. Fuller Russell. 
 
 185 St. Peter. Half-figure; two angels above. Panel, 43 by 21 inches. 
 
 Lent by Cyril B. Harcourt, Esq. 
 
 186 The Deposition. Panel, 13! by 21 inches. Lent by Rev. J. Fuller Russell. 
 
 187 The Entombment. Panel, 13^ by 21 inches. Lent by Rev. f. Fuller Russell. 
 
 188 The Resurrection. Lent by Rev. f. Fuller Russell. 
 
 189 Two Saints. Small half-figures, in Gothic compartments. Panel, 24 by 21 inches. 
 
 Lent by Rev. f. Fuller Russell. 
 
 190 A Saint. Small half-figure. Panel, 15 by 10 inches. 
 
 Lent by Rev. f. Fuller Russell." 
 In the year 1885 the Rev. J. Fuller Russell's collection was sold at Christie's, when Nos.175, 176, 
 189 and 190 in the above list passed into the hands of Mr. Charles Butler, Nos. 181, 183 and 186 into 
 the collection of Mr. H. Wagner, Nos. 178 and 184 into the National Collection. No. 177 was 
 bought by Mr. L. Myers, and No. 188 by Mr. E. F. White. Nos. 179 and 187 are in the possession 
 of the Rev. Edward Meadows Russell, son of the Rev. J. Fuller Russell. 
 
 F 
 
42 
 
 Pi&ures of the School of Siena 
 
 is the Madonna and Child. She is seated on a stone, Cosmatesque throne. The 
 Child is half-seated, half-standing, supported by her left arm. 
 
 On the right wing is a representation of St. Francis receiving the stigmata. 
 In the scene below it, Christ and the Virgin are seated on a Cosmatesque throne. 
 Six angels, standing behind the throne, look down upon them. In each of the 
 spandrels of the central arch is a small figure of an angel weeping. 
 
 This picture belongs to Duccio's middle period. There are several reasons 
 for not assigning it to the early part of his career. The drawing throughout 
 is freer and more graceful than in his early works; the iris of the eye is 
 smaller, and the drapery less angular. Signs of progress are especially notice- 
 able in the " St. Francis receiving the Stigmata," and in the beautiful figure of 
 the Virgin in the " Christ and Madonna in Glory." The throne, too, is of stone 
 and not of wood, as in Duccio's Madonna at S. Maria Novella, and in the little 
 early Madonna in the Siena Gallery. It is also impossible to assign the picture 
 to the last period of the master. The frequent gold hatchings on the robes of the 
 sacred personages represented, and the absence of Gothic motifs, tend to prove 
 that it does not belong to the period of the great Majestas. Classical in feeling, 
 and in many details of design, it belongs to the master's Roman period. 
 
 Panel, triptych, on gold ground. Size of central panel, 16 by 12 inches; size 
 of each of the side panels, 17J by 6f inches. 
 
 Bought by H.R.H. the Prince Consort from Dr. Metzger, in the year 1845. 
 
 Lent by His Majesty the King. 
 
 UGOLINO DA SIENA. 
 
 6 St. Bartholomew and St. Andrew. 
 
 The two apostles are represented in half-figure each, under an ogival arch. 
 Panel, on gold ground including the frame, 23^- by 25^ inches. 
 
 Lent by the Earl of Crawford, K. T. 
 
 NICCOLO DI BUONACCORSO. 
 d. 1388. 
 
 8 St. Jerome and the Lion. 
 
 St. Jerome is seated on a throne in cardinal's robes, a book being open on a 
 lectern beside him. He holds the paw of the lion in his left hand, and extracts the 
 thorn with his right. Behind the saint is a rocky desert, with a chapel to the right. 
 
 This is probably an early work of this master. 
 
 Panel, on gold ground, 13^ by 11 inches 
 
 Lent by Alfred A. de Pass, Esq. 
 
PiElures of the School of Siena 
 
 43 
 
 EARLY SIENESE SCHOOL. 
 9 Scenes from the Life of Christ, a Diptych. 
 
 In this Diptych eight scenes are represented, the Nativity, the Last Supper,, 
 the Deposition, and the Entombment on one panel, and the Betrayal, the Cruci- 
 fixion, Christ appearing in Glory, and the Virgin and Child with St. Francis 
 and St. Clare on the other. It is of the same period as the early " St. Peter 
 Enthroned " in the Siena Gallery. As in that picture, some of the rocks and 
 buildings are coloured red ; and we see in it, too, one of those windows a colonnelli 
 which are a prominent feature in Sienese palaces dating from the latter half of 
 the thirteenth century. 1 In these panels are evidences of the influence of the 
 early Roman School as well as of the Byzantine. We see in it, too, traces of 
 that Sienese emotionalism which found its extremest manifestation in some of 
 the works of Pietro Lorenzetti. This Diptych was painted about the year 1270, 
 a few years before Duccio began his career as an artist. It was probably executed 
 for a Franciscan convent. 
 
 Panel, on gold ground. Size of each panel 23 by 16 inches. 
 
 Lent by Sir William Richmond, K.C.B., R.A. 
 
 UGOLINO DA SIENA. 
 
 10 Deposition. 
 
 St. Joseph of Arimathaea lowers the body of Christ from the Cross. The 
 Virgin and St. John support the body from below. Nicodemus, kneeling, removes 
 one of the nails. St. Mary Magdalen, in red, kisses Christ's right hand. Mary 
 Cleophae and Mary Jacobi, in green cloaks, stand mourning. 
 
 Panel, on gold ground, including the frame, 15^ by 23 inches. 
 
 Lent by H. Wagner, Esq. 
 
 AMBROGIO LORENZETTI. (?) 
 
 1285 circa — 1348. 
 
 11 Six Scenes from the Life of Christ. 
 
 I. The Descent from the Cross. A composition of nine figures. The body of 
 Christ is held by Joseph of Arimathaea who is descending the ladder. His mother 
 holds His head. St. Mary Magdalen in scarlet kisses the print of the nail on his left 
 hand. Mary, the wife of Cleophas, in a rose-coloured robe kisses his right hand. 
 Behind, on the left, stands Mary, the mother of James. St. John stands on the 
 
 1 Borghese e Banchi, " Nuovi Documenti per la Storia delPArte Senese," Siena, 1898, p. 1. 
 
Pi&ures of the School of Siena 
 
 right with clasped outstretched hands. Nicodemus with averted head extracts one 
 of the nails from his feet. 
 
 2. Pentecost. A composition of thirteen figures seated in two tiers. In the 
 centre of the upper row is the Virgin, enveloped in a dark blue robe heightened 
 with gold. On either side of her are three apostles, St. John being seated on her 
 right hand holding an open book. Six apostles sit on the seat below. 
 
 3. The Ascension. A composition of fifteen figures. The Christ is seen in 
 half-figure in the clouds surrounded by five angels. Below, on the left, are the four 
 holy women, and on the right six apostles. 
 
 4. Pieta. A composition of eleven figures. Seated on the tomb, the Virgin 
 holds on her lap the body of Christ, whilst Nicodemus supports his feet. St. John 
 Theologos bends over Nicodemus and gazes at his dead Lord. Four women in 
 silent grief stand behind the Virgin, whilst Mary Magdalen, in a frenzy of sorrow 
 raises her arms as though about to embrace the body. Behind St. John stands 
 another apostle and Joseph of Arimathaea. 
 
 5. The Resurrection. A composition of thirteen figures. The tomb is empty, 
 with an angel seated at its head and at its foot. Christ has just risen and is passing 
 away, holding a crimson banner. He looks back at the four holy women who are 
 standing to the left of the picture. Foremost of them is St. Mary Magdalen, who 
 points to the empty grave. Five Roman guards are sleeping in front of, and at the 
 foot of the tomb. 
 
 6. The Descent into Hell. In the centre Christ, bearing a banner, is about to 
 enter Hades. David and other righteous kings stand on the left of the picture. 
 In the mouth of Hades, two leaders of the Old Dispensation rise from their 
 knees to meet him, and behind them are other figures. 
 
 These panels belong to the school of Giotto; but seem to be the work of a 
 Sienese follower. In colour, composition and technique, they have the qualities of 
 such works as Ambrogio Lorenzetti's little " Madonna and Angels " in the Siena 
 Gallery (No. 65). A similar colour scheme, in fact, is to be found in works of 
 Duccio, Ambrogio's forerunner. Several of the figures have their counterparts in 
 works of the Lorenzetti. The apostle in pink, holding a red book, in the lower 
 tier in the " Pentecost," closely resembles some of the seated figures in the " Good 
 Government of Siena." Note especially the drawing of the hair, the neck, and the 
 folds of the robe. The "Deposition" and the "Pieta" are full of that strong 
 emotionalism which often reveals itself in the works of Ambrogio Lorenzetti, and 
 yet more often in the paintings of his brother, Pietro. They are closely related to 
 Pietro's representations of these subjects at Assisi. 
 
 Panel, 28 by 43 inches. The pictures are on gold ground, and each is framed 
 by a stamped pattern. Each separate panel is 13 by 12 inches. 
 
 Lent by Count Stroganoff. 
 
Pi&ures of the School of Siena 
 
 45 
 
 UGOLINO DA SIENA. 
 
 12 The Entombment. 
 
 In an open tomb of white marble, in front of a mass of rocks, the body of 
 Christ is being laid; He lies on a winding sheet; The Virgin bends over Him 
 and kisses Him; St. John supports His head, St. Peter His body, and St. James 
 His feet. The Magdalen, in scarlet cloak, stands in the background with uplifted 
 arms, and near are Mary the wife of Cleopas, Mary the mother of James and 
 another woman. 
 
 Panel, on gold ground, including the frame, 15^ by 22\ inches. 
 
 From the collection of the Rev. J. Fuller Russell. 
 
 Lent by the Rev. E. Meadows Russell. 
 
 SCHOOL OF PIETRO LORENZETTI. 
 
 13 Madonna and Child. 
 
 The Virgin is represented seated on a cushion. The Child is lying on her 
 lap supported by her right arm, and held by her left hand. In an arch to the 
 right is St. John Baptist bearing a scroll on which is the inscription : " ECCE . . . 
 DEI ECCE QUI TOLIS PECATA MUNDI. MISERERE." In an arch to the left is St. 
 Mark. 
 
 Panels, on gold ground, in original frame. Total measurement, i2f by 23 
 inches. 
 
 Formerly in the Fuller Russell Collection. 
 
 Lent by H. Wagner, Esq. 
 
 SCHOOL OF AMBROGIO LORENZETTI. 
 
 14 PlETA. 
 
 A composition of twelve figures. In the centre a T-shaped cross with a ladder 
 resting against it. At the foot of it the Virgin holds the head and body of Christ 
 on her lap. St. Mary Magdalen, in scarlet, supports the feet. Another Mary, 
 seated, kisses his left hand. One of the holy women stands behind with uplifted 
 arms, whilst another is seated with joined hands behind the head of the Christ. 
 In the background St. John is seated, his head resting on his hand. Behind, on 
 the left, are Joseph of Arimathaea and Nicodemus holding the nails, with an 
 apostle. At the opposite side of the picture are two other women. 
 
 This picture closely follows the composition of the Pieta in the altar-piece by 
 Ambrogio Lorenzetti, formerly in the Church of the suppressed convent of S. 
 
4 6 
 
 PiSiures of the School of Siena 
 
 Petronilla, and now in the Siena Galley (Stanza Seconda, No. 77). It was 
 probably painted under the direct influence of Ambrogio. 
 
 It would be easy to give it the name of one of the followers of the Lorenzetti. 
 In fact it has strong stylistic affinities to the early works of Bartolo di Fredi. 
 But the resemblance is not close enough to justify its attribution to him. It is 
 always well to remember, in discussing doubtful Sienese works of this period, 
 that they may be the work of artists of whom we know, and can know, nothing. 
 In the Archives at Siena there are to be found the names of one hundred and 
 ninety Sienese painters who lived in the fourteenth century. Of these there are 
 only eighteen of whose handiwork we know anything definitely. Is it not 
 reasonable to assume that a great many Sienese works of this period are by 
 masters of whom we know, and can know, nothing? Even granted that some of 
 these artists were merely decorative painters, is it not certain that the connoisseur 
 who glibly gives a name to every Sienese picture of this epoch presented to him 
 must be wrong in a majority of cases? 
 
 Panel, on gold ground, 20 by 18 inches. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C., K.C.B. 
 
 UGOLINO DA SIENA. 
 
 15 The Scourging. 
 
 Christ, naked save for a loin-cloth, stands bound to a slender marble pillar 
 which supports the ceilingof the room. There is a scourger on either side of Him. 
 Panel, on gold ground, including the frame, 15^ by 22\ inches. 
 
 Lent by the Rev. E. Meadows RusselL 
 
 SCHOOL OF THE LORENZETTI. 
 
 16 Scenes from the Lives of the Hermits of the Thebaid, and the 
 
 Founders of the Religious Orders. 
 
 St. Jerome writing of his home in the desert of Chalcida says that it lay 
 "among rocks and precipices," and that he had "scorpions and wild beasts" for 
 companions. It is in a similar country that the following scenes are laid. They 
 are forty-six or more in number. Beginning in the left-hand bottom corner is: 1. St. 
 Jerome kneeling before a cross in front of his cave, and beating himself with stones 
 and a whip, while the lion keeps off a serpent. Close by are a lion and a serpent 
 about to fight. 2. St. Jerome taking the thorn out of the lion's foot. Three 
 monks and a nun looking on. 3. A monk reading in a cell. 4. A saint kneeling 
 before the cross. 5. Two hermits driving a loaded camel. 6. Devils attacking 
 a church on a hill. 7. The Devil cutting the rope by which a monk is lowering 
 his food to St. Benedict. 8. St. Pachomius talks to the skull. 9. St. Pachomius 
 and the angel. 10. St. Benedict lying on thorns. 11. St. Zosimus finding St. 
 
Pi&ures of the School of Siena 
 
 47 
 
 Mary of Egypt. 12. Devil disguised as a woman hung with bottles, appears to 
 a monk in his cell. 13. Devil disguised as a woman hung with bottles, meets St. 
 Macarius. 14. St. Paul buried by lions. 15. Angel seated with a psaltery. 16. 
 Monk letting down a vessel by a rope to fill it at a spring gushing out of rocks, 
 and another monk below filling his jug. 1 7. Hermit drawn in a barrow by a lion. 
 18. Group of four hermits, one of whom is a cripple and carried on the shoulders 
 of another. 19. Hermit wheeled in a barrow by a monk. 20. St. Macarius 
 Romanus riding on a stag met by another hermit. 21. Hermit seated, a boy enter- 
 ing. 22. Hermit (perhaps St. Portianus) with a red broken jug. 23. Young hermit 
 standing, an angel bending at his feet. 24. SS. Anthony and Paul sitting at meat. 
 25. St. Paul the hermit seated in his palm tree. 26. The death of St. Ephrem of 
 Edessa, Doctor of the Church, numerous figures in front of a church with a high 
 campanile. A peacock (Juno's bird and emblem of immortality) looking on from 
 the other side of the river, also choughs and storks. 27. St. Paphnutius burns his 
 fingers to rid himself of temptation in the guise of a scarlet lady. 28. The dream 
 of a hermit asleep in a cell, two small figures kneeling, a cross between them, and 
 flames ascend from their hair. 29. St. Francis receiving the stigmata. 30. Hermit 
 in cell and a saint kneeling, above the roof a column of crowns. 31. A lofty 
 conical mountain with a spiral road up to a shrine on the top, figures ascending 
 and descending. 32. Ring of ten flagellants, with nimbi, in a cave before a cross. 
 33. The Virgin appears to St. Bernard, the Devil chained behind. 34. A lion 
 attacking a hound that takes refuge with a hermit. 35. A hermit fishing. 36. A 
 hermit sailing in a boat before a strong wind on a river. 37. A bishop's soul held 
 by two devils in a boat, another devil steering; another in the bows holds a banner 
 with a scorpion on it. Three men in red cloaks on the shore looking on. 38. St 
 Benedict sends St. Maurus to help St. Placidus. 39. St. Maurus saves St. Placidus 
 from drowning. 40. Hill dotted with hermits' cells. 41. Two hermits in front of a 
 cell sitting at meat. 42. Hermit looking out of the window of his cell at the Devil 
 disguised as a monk with horns, and holding the tail of an ass which is falling 
 under its burden. 43. Hermits tilling. 44. St. Pachomius riding a crocodile in the 
 water, two monks fleeing. 45. Five knights scared at three skeletons, one of 
 whom has risen up in his coffin, and two ravens pick their bones ; St. Macarius 
 of Alexandria bids the knights remember death. 46. The knights take on hermits' 
 habits at St. Macarius' hands. 
 
 As a composition this picture is in some respects the forerunner of the 
 cassone pictures of the fifteenth century. But whilst they tell several episodes of 
 one connected story by means of continuous representation, the only pictorial 
 unity this possesses is due to the landscape with the winding river in the fore- 
 ground. 
 
 This panel is closely related to the works of Pietro Lorenzetti and his 
 followers in the Campo Santo at Pisa. In its narrative power as well as in some 
 of the figures, it recalls Paolo di Maestro Neri's frescoes at Lecceto; but the 
 
4 8 
 
 Pictures of the School of Siena 
 
 similarity is not sufficiently close to enable us to give it to him. It is possi- 
 bly the work of some Pisan follower of Pietro Lorenzetti. In Lord Crawford's 
 collection is another representation of the hermits of the Thebaid by a different 
 hand. 
 
 Panel, 19 by 65 inches. 
 
 Exhibited at the exhibition of Early Italian Art, 1893- 1894. 
 
 Lent by the Earl of Crawford, K. T. 
 
 LIPPO MEMMI. 
 1 290 circa — 1357. 
 
 17 St. Apollonia and St. Agatha. 
 
 St. Apollonia, on the left, wears a yellow robe over a brown tunic, and holds 
 in her left hand long pincers containing a tooth. St. Agatha, on the right, has a 
 blue vest and a blue cloak, and carries in the left hand a book, and in the right 
 hand a bowl, in which are her breasts. 
 
 In the treatment of the drapery, as in the drawing of the eyes and mouth, 
 this resembles Simone's later works. It was probably painted by Lippo Memmi 
 whilst he was working with Simone. 
 
 Panel, on gold ground, ni by 9^ inches. 
 
 Lent by Sir Edward f. Poynter, Bt., P.R.A. 
 
 SIMONE MARTINI. 
 1284 circa — 1 344 
 
 18 Christ Found in the Temple. 
 
 On the left Mary is seated holding a Book of Hours on her lap, with her 
 right hand uplifted as she says, " Thy Father and I have sought thee sorrowing." 
 On the right advances the young Jesus, with arms folded. He has a blue tunic 
 and a red cloak edged with gold. In the centre of the picture stands St. Joseph. 
 His left arm is round the boy's shoulder, as he leads him to his Mother. St. Joseph 
 has a red tunic with a purple cloak thrown round him. At the base is the 
 inscription: 
 
 "SYMON DE SENIS ME PINXIT, SUB A.D. M. CCC.X.L.II." 
 
 The picture is in its original Gothic frame. There is a cherub in each of the 
 spandrels of the arch. 
 
 As the inscription shows, this picture was painted during the master's last 
 period at Avignon, and is of a somewhat later date than the Antwerp panels 
 (No. 20). In its colour scheme it takes us back to Duccio. The fine tooling of 
 the aureoles, the rich decoration of the arched framework, and the fine sgraffito 
 ornamentation of the vestments help to create that effect of hieratic sumptuous- 
 
PiSiures of the School of Siena 
 
 49 
 
 ness, which was one of the artistic aims Simone inherited from Duccio, and, 
 through him, from the miniaturists of the second golden age of Byzantine 
 painting. 
 
 Panel, on gold ground. Size, including the moulding, 19 by 13^ inches. 
 See Crowe and Cavalcaselle's " Storia della Pittura in Italia," vol. iii., pp. 112 
 and 113. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 LIPPO MEMMI. 
 1 290 circa — 1357. 
 
 19 Madonna and Child. 
 
 The Virgin is represented seated, and nearly full-face, with head inclined to 
 the right. The Child wears a thin shirt, and a deep red cloak is thrown around 
 him. He holds together, on his Mother's breast, the two ends of her white veil, 
 and looks down towards a small figure of a canon, seen in profile, kneeling with 
 joined hands. This figure probably represents the donor of the picture. 
 
 Panel. Gold patterned background ; round (originally gothic) top, 15 by 
 inches. 
 
 Lent by Mrs. Robert Benson. 
 
 An unknown follower of SIMONE MARTINI. 
 
 20 Two Panels joined as a Diptych. 
 
 (1) The Crucifixion. In the centre is Christ crucified. On the left are the 
 four holy Women and four soldiers, on the right St. John and five soldiers, of 
 whom Stephaton holds the hyssop and sponge of vinegar, and another the banner 
 S.P.Q.R. In the group to the right the centurion stands, with arm outstretched 
 to the cross, and sanctified with a halo. 
 
 (2) Pieta. Composition of ten figures. In the centre stands the cross. Beneath 
 it the body of Christ is being prepared for the tomb by the four holy Women and 
 St. John. The Virgin is fainting with Christ's head on her knees, and St. John 
 holds His left hand. Behind stand St. Joseph of Arimathaea, Nicodemus, and 
 two others. Nicodemus lifts a hammer and carries a basket of nails. 
 
 Two companion pictures are in the Carrand collection in the Museo Nazionale 
 at Florence. In their vivid, harmonious colour, in their delicate technique, as in 
 their very fine line, these pictures reveal a follower of Simone Martini. Some of 
 their morphological details betray the influence of Ambrogio Lorenzetti ; but we 
 do not find in them those qualities of modelling which the works of the Lorenzetti 
 owe, in a measure, to the influence of Giotto. We can only surmise that this artist 
 
 G 
 
Pi&ures of the School of Siena 
 
 belonged to the numerous band of distinguished Sienese trecentists, of whom only 
 a fraction have left works whose authorship is certain. 
 Panels, on gold ground, each 15^ by 10^ inches. 
 
 Lent by Mrs. Robert Benson. 
 
 SIMONE MARTINI. 
 1284 circa — 1344. 
 21 Scenes from the Life of Christ. 
 
 (1) and (4) Annunciation represented in two panels. The angel Gabriel kneels 
 on one knee before the Virgin, his arms crossed on his breast. He has yellow 
 hair, and wears a blue robe shot with a pale rose colour, and a red cloak shot with 
 white, and hatched with gold. He holds a tall slender lily. His wings are of 
 blue and gold. 
 
 The Virgin is seated on a panelled throne of stone, over the back of which 
 a crimson cloth is thrown. She wears a red dress, and a blue cloak lined with 
 green and bordered with gold. In her left hand she holds a Book of Hours. To 
 the left is a vase, out of which rises a lily stem bearing three flowers and three buds. 
 
 (2) The Deposition. The body of Christ is being taken down from the cross 
 by St. Joseph of Arimathaea and another saint. Below, to the left, stand the Virgin 
 and St. John, and two women saints with outstretched arms, as well as six other 
 figures. On the right is St. Mary Magdalene, in red, with her arms raised in horror. 
 With her stands a group of women. At the foot of the cross is Nicodemus with 
 the pincers. The donor, a bishop in a dalmatic, kneels in the foreground. 
 
 (3) The Crucifixion. A soldier pierces the side of the crucified Jesus. An 
 angel, bewailing, floats on either side of him. St. Mary Magdalen embraces the 
 cross below. The Virgin, who has swooned away, lies on the ground to the left. 
 Two women and St. John the Evangelist are bending over her. On the right are 
 the sons of Simon of Cyrene, one of whom is looking up at the Christ, whilst the 
 other, seeking to attract the attention of his companion, points at the fainting 
 Mary. Behind them stands the centurion, with a group of eight soldiers and a 
 Pharisee. The soldiers wear helmets, and bear lances and banners. On the tunic 
 of a soldier and on the folds of the flag are the letters S.P. 
 
 On the original frame are the words "SYMON PINXIT." 
 
 These small panels were probably painted in the early part of Simone's last 
 period at Avignon, that is to say, in the year 1339 or 1340. On account of certain 
 analogies that connect this picture with the " Annunciation " of the Uffizi, which 
 was painted in 1333, Simone's latest biographer, Dr. Agnes Gosche, concludes that 
 these panels were painted in Simone's second period, which began in 1333 and 
 concluded in 1339. But the differences between the two "Annunciations" are 
 scarcely less marked than the resemblances. The Antwerp pictures are distinctly 
 
PiElures of the School of Siena 
 
 5 1 
 
 stronger in modelling. There are, too, slight differences in design that point to 
 the fact that the artist was in a country where the stream of Gothic influence was 
 running strongly. Thus, whilst the finials of the Virgin's throne in the Uffizi 
 picture are short, rounded, and quite unimportant and characterless, the throne in 
 the Antwerp " Annunciation," on the other hand, is decorated with beautiful 
 Gothic finials of a pronouncedly northern type. It is significant that this picture 
 came from Dijon, where works of the early French masters influenced by Simone 
 have also come to light. The panels are a little anthology, of four pages, of 
 Simone's artistic qualities. 
 
 Panels, on gold ground. Size of each panel with its original framework, 
 1 1 -J- by 8 inches. 
 
 Bought at Dijon in the year 1826. Afterwards in the Musee van Ertborn. 
 Since 1840 in the Musee Royal, Antwerp. 
 
 Lent by the Council of the Antwerp Gallery. 
 
 BERNA DA SIENA, 
 d. 1381 (?)■ 
 
 22 Christ bearing the Cross. 
 
 Figure of Christ, 9 inches high, in crimson robe, bearing the Cross, and 
 marching to right, with head turned full-face and looking back; behind Him is a 
 small figure of a Dominican monk in the black and white garb of his order, 
 kneeling in prayer. 
 
 Panel, on gold ground. Size, with moulding, 14 by 10 inches. On gold 
 ground with border. 
 
 Formerly in the collection of Lord Leighton. 
 
 Lent by Mrs. Robert Benson. 
 
 NADDO CECCHARELLI. 
 Working in 1347. 
 
 23 Madonna. 
 
 The Virgin is standing, three-quarter figure, with the child seated on her left 
 hand. He is clad in a white and gold tunic, and a rose cloak. He holds a bird in 
 his right hand. The terra verde under-painting is seen through the flesh colours, 
 which have faded somewhat. 
 
 The panel bears the inscription " naddus CECCHARELLI de senis me 
 PINXIT MCCCXLVII." It is in its original frame, which is adorned with a beautiful 
 raised Gothic design, enclosing eight medallions bearing saints, and eight roses, 
 the centres of which are jewelled. 
 
PiSlures of the School of Siena 
 
 The picture has great grace of line, and shows everywhere the influence of 
 Simone Martini. 
 
 Panel, on gold ground, 22\ by 14 inches; including the frame, 29A by 20| 
 inches. 
 
 Lent by Sir Frederick Cook, Bt., M.P. 
 
 ANDREA DI VANNI. 
 1332— 1414. 
 
 Madonna and Child. 
 
 The Madonna, seated on a plain gray marble seat, holds in both hands the 
 infant Christ, Who lies back with His feet to left, His head turned to the spectator. 
 The Virgin wears a bright blue mantle edged with gold, drawn over her head and 
 opening in front to show a black lining; and at the neck an under-garment, 
 embroidered with gold. The Christ is clad in a long sleeved garment, entirely of 
 gold. In his outstretched right hand is a bird. His left touches his Mother's 
 breast. Both have circular halos with stamped ornamentation. 
 
 This is a characteristic work of this inferior master, and is of the same period 
 as his large altar-piece at S. Stefano at Siena. It has a gold ground, and is ogival 
 in form at the top. Unfortunately the Virgin's mantle has been repainted. 
 
 Panel, on gold ground, 35^ by 20 inches. 
 
 From the collection of Mr. Charles Butler. Formerly in the Toscanelli 
 Collection. 
 
 Lent by the Syndics of the Fitzwilliam Museum, Cambridge. 
 
 STEFANO DI GIOVANNI SASSETTA. 
 1392— 1450. 
 A Miracle of the Sacrament. 
 
 A priest standing in front of an altar is in the act of administering the host 
 to another priest who kneels before him. The host bleeds, and at the same time 
 the communicating priest falls back dead. A demon bears away his soul. In the 
 centre of the picture kneel five friars, one of whom supports the body of the dead 
 priest. Another friar stands at the entrance of a chapel in the transept. Five 
 women kneel to the left, and behind them is a group of nobles. 
 
 The subject of this picture is the invisible Deity testifying by a miraculous act 
 to the truth of the Church's central Mystery. It was painted at a time when dis- 
 putes about the doctrine of the Sacrament were already prevalent. 
 
 We note in it all the characteristics of Sassetta's works — his exquisite 
 technique, his delicate drawing of heads and hands, his fine painting of flesh, 
 his great qualities as a colourist, as well as such morphological peculiarities as the 
 
Piclures of the School of Siena 
 
 53 
 
 dark prominent iris of the eye, the small, full mouth and the pronounced dimple 
 of the chin. Sassetta's mature achievement should not be confounded with that 
 of any of his followers, such as Sano di Pietra, Pietro di Giovanni, or the two 
 nameless pupils whose works are now (June, 1904) to be seen in the Mostra dell' 
 Antica Arte Senese. 
 
 Panel, g\ by 15 inches. 
 
 Lent by the Trustees of the Bowes Museum, Barnard Castle. 
 
 SANO DI PIETRO. 
 1406 — 1481. 
 
 26 Madonna and Six Saints. 
 
 The Virgin is represented three-quarter figure seated. She wears a blue robe. 
 The Child is fully clothed, and sits on a white cloth spread over His Mother's left 
 arm. He presses His right cheek against her face. On either side of the Madonna 
 are three saints. St. Catherine of Siena, St. Francis, and St. Ambrose stand upon 
 her right hand, St. Jerome, St. John Baptist and S. Bernardino on her left. The 
 background of the picture is blue. 
 
 This is an early work of the master and is full of trecentist feeling. The 
 attitude of the child was imitated, perhaps, from some work of Ambrogio 
 Lorenzetti. 
 
 Panel, 21 by 17 inches. 
 
 Exhibited at the Manchester Art Treasures Exhibition, 1857. 
 
 Lent by the Dean and Governing Body of Christ Church, Oxford. 
 
 GIOVANNI DI PAOLO. 
 1403 circa — 1482. 
 
 27 and 28 Four Scenes from the Life of St. John the Baptist. 
 
 (1.) The Birth of St.fohn. Elizabeth is represented lying clad in a blue gown 
 in a sumptuous gilded bed, over which is spread a rose-coloured coverlet. A 
 panelled predella is at the side and the bottom of the bed. 
 
 The infant stands on his nurse's knee in the centre of the picture. A little to 
 the left of them is a metal ewer and basin. On the right is Zacharias, clothed in 
 a red robe and blue cloak, writing the name "John " on a roll. On the left, a maid 
 warms a garment at a wood fire. 
 
 Panel, 12 by 14$. inches. 
 
 (2.) St. fohn going into the Wilderness. The young St. John is seen departing 
 from the gate of a city. Higher up in the picture, to the right, he is seen making 
 his way into a rocky wilderness, and leaving behind him vineyards and olive- 
 yards and the haunts of men. 
 
 On the left, divided from the picture by a piece of gilt beading, is a trailing 
 
Pi&ures of the School of Siena 
 
 white rose, and two rosebuds ; on the right, and also separate from the picture, is a 
 red rose and two buds. 
 
 Panel, 12 by 19 inches. 
 
 (3.) The Baptism of Christ. Christ stands in the centre of a stream. The Pre- 
 cursor, who is on the bank, on the right, pours water over his head. Above Jesus, 
 borne on fiery wings, is God the Father, with the Holy Dove beneath him. Five 
 angels float in the air, and two stand on the river-bank to the left. 
 
 Panel, \l\ by 19 inches. 
 
 (4.) Herod's Feast. A page, kneeling, presents the head of St. John Baptist in 
 a charger to Herodias, who is seated at a table with Herod and one of his 
 ministers. The king and the courtiers cover their faces with horror, and Herodias 
 lifts her hands in surprise. Salome comes in from the right, dancing and smiling. 
 Two pages stand looking on, near the entrance of the banqueting-chamber. The 
 table is covered with golden ewers, plates, and cups. 
 
 Panel, \ \\ by 15 inches. 
 
 Giovanni di Paolo's best works are his small panels, and this series of predella 
 pictures is not only of fine quality, but in a remarkable state of preservation. In 
 each of the scenes the artist has given us an imaginative, dramatic treatment of 
 the conventional representation of the subject. The technique of the pictures 
 reminds us that the artist was a consummate miniaturist. He has covered the 
 surface of the panel with gold before painting, and then has used pure, simple 
 tones. He has emancipated himself from the gold background; but in the panels 
 of the bed on which Elizabeth lies, in the halos of saints and angels, in the rays 
 which surround God the Father, and in the hangings and the plate of Herod's 
 banqueting hall, the original gold surface is left, producing a rich, decorative 
 effect. In some parts of these panels the gold pattern is produced, not by leaving 
 the original surface untouched, but by scratching away the paint after it has 
 been applied. A similar sgraffito process was employed by Sano di Pietro, notably 
 in his admirable little " Assumption " in Mr. Loeser's collection. 
 
 Giovanni di Paolo was very sensitive to influence. At one time his art is 
 affected by Sassetta; at another by Vecchietta; at another by Fra Angelico. 
 These panels reveal throughout the influence of Sassetta; especially in the land- 
 scape of the " St. John going into the Wilderness," and in several of the figures in 
 the other panels. But nowhere do we find a slavish following of that master. 
 Giovanni always remained a profoundly original artist. He reveals here a great 
 love for flowers. Equally truthful representations of flowers are to be seen in a 
 predella picture in the Siena Academy, and in a Madonna now being exhibited 
 by the Prepostura di Castelnuovo in the Mostra dell' Antica Arte Senese. 
 
 The above pictures were shown at the Royal Academy Exhibition of Old 
 Masters in 1887, and in 1896. 
 
 Lent by Charles Butler, Esq. 
 
Pictures of the School of Siena 
 
 55 
 
 SANO DI PIETRO. 
 
 29 Madonna and Child. 
 
 The Virgin is seated, half-figure. The child sits on her right arm, holding in 
 his left hand a goldfinch. To the left is St. Jerome, to the right S. Bernardino. 
 Six angels' heads are above and around the Virgin's head. 
 
 A work of similar design belongs to the R. Conservatorio Femminile at Siena, 
 and is now exhibited at the Mostra dell' Antica Arte Senese. 
 
 Panel, on gold ground, 21A by 15^ inches. 
 
 Lent by His Majesty the King. 
 
 GIOVANNI DI PAOLO. 
 1403 — 1482. 
 
 30 The Annunciation. 
 
 In the loggia of her house, Mary Virgin is seated three-quarter face to left. 
 She wears a blue cloak, lilac robe, and white headdress; her hands crossed on her 
 breast. The house is Italian Gothic, and is built of white marble, with many 
 coloured panels and a tiled floor. Her bed, with a green canopy, is seen in a 
 recess behind ; and a passage leads to other rooms, in one of which, on the right, 
 St. Joseph is seated, warming his hands at a fire. The angel approaches through 
 the arch from the left, with arms folded, in a pale rose-coloured dress over a white 
 skirt, and with wings of golden peacock's feathers. 
 
 Outside is a representation of the Fall. The angel expels Adam and Eve 
 from Paradise, and above in the clouds is seen God the Father. In the foreground, 
 rabbits play among the flowers ; the background is a hedge of fruit trees, with a 
 pale blue sky above. 
 
 This picture is of the same period and quality as the fine " Paradiso " by this 
 master in the Palmieri-Nuti Collection. 
 
 Panel, 15^ by 18 inches. 
 
 Lent by Mrs. Robert Benson. 
 
 SANO DI PIETRO. 
 1406 — 1 48 1. 
 
 31 Madonna and Child. 
 
 Only the head and bust of the Virgin are shown. The Child is seated against 
 her right shoulder. He wears a pale pink dress ornamented with gold, and has a 
 red cloth thrown round it. In His left hand He holds a flower, in His right a bird. 
 Above are four heads of angels, two on either side. 
 
 Panel, on gold ground, 16 by \2\ inches. 
 
 Lent by Mrs. Worthington. 
 
56 
 
 Pictures of the School of Siena 
 
 SANO DI PIETRO. 
 1406 — 1481. 
 
 32 Madonna and Child. 
 
 The Vir gin is represented standing, three-quarter figure, and wearing a blue 
 robe and red tunic. The Child, clothed in a rose-coloured garment, sits on her 
 right arm. To the left are St. John Baptist, St. Peter Martyr, and a female saint; 
 to the right are St. Jerome, St. Francis and St. Anthony of Padua. The picture 
 has a gold ground and is arched at the top. 
 
 This panel is in Sano di Pietro's earlier manner. It is similar in form and 
 design to a picture by this master in the Palmieri-Nuti Collection at Siena. 
 
 Panel, 2\\ by \6\ inches. 
 
 Exhibited at the Royal Academy Exhibition of the Old Masters, 1896. 
 
 Lent by Charles L. Eastlake, Esq. 
 
 FRANCESCO DI GIORGIO MARTINI. 
 1439—1502- 
 
 33 Nativity. 
 
 On the right the Virgin kneels three-quarter face to the left. She wears a rose- 
 coloured robe and a blue cloak lined with ermine tails, loosely thrown round one 
 shoulder. The Child lies in the centre, upon a corner of her cloak, His head resting 
 on a red cushion. St. Joseph is seated on the left, wearing a blue robe with yellow 
 cloak, and in his left hand holds a crooked staff. A wallet lies on the rocks by 
 his side, and a pilgrim's bottle hangs from a tree trunk hard by. Immediately be- 
 hind him is a spiral formation of rock and a piece of red brick wall, which inclose 
 the manger. In the background is a winding river bed, enclosed by fantastic rocks 
 and hills. 
 
 This picture bears traces of the influence of Girolamo da Cremona, in the 
 design of the folds of St. Joseph's cloak and in its colour. It is not difficult, 
 therefore, to fix approximately the date of the panel. It is not one of the master's 
 latest works; and does not belong, therefore, to the period following Girolamo 
 da Cremona's second visit to Siena. It must have been painted shortly after 
 Girolamo's first visit in 1469. 
 
 Panel, 24^ by 22\ inches. 
 
 Formerly in the collection of Mr. Charles Butler. 
 
 Lent by R. H. Benson, Esq. 
 
PiSiures of the School of Siena 
 
 57 
 
 LORENZO DI PIETRO, called VECCHIETTA. 
 
 141 2 — 1480. 
 
 34 St. Bernardino Preaching. 
 
 The Saint, who holds before him a square tablet with the sacred monogram, 
 I H S, surrounded by a glory, is preaching from a pulpit which is placed in front 
 of one of the external pilasters of a Renaissance building. The hearers kneel and 
 stand in groups about a large piazza paved with brick — the women for the most 
 part to the left, the men and boys to the right. 
 
 This picture has been attributed both to Pesello and to Benvenuto di Giovanni. 
 The one attribution is almost as difficult to understand as the other. It is a 
 characteristic work of the last period of Lorenzo di Pietro, painted perhaps at the 
 time when his pupils Neroccio di Bartolommeo and Francesco di Giorgio were 
 yet with him. Vecchietta himself was an architect, as well as a painter and a 
 sculptor; and this picture affords evidence in support of the belief that he exercised 
 an influence upon the development of Francesco's architectural style. 
 
 Panel, 30 by nf inches. 
 
 Lent by the Trustees of the Royal Institution, Liverpool. 
 
 FRANCESCO DI GIORGIO MARTINI. 
 H39— 1502. 
 
 35 Nativity. 
 
 The Virgin kneels, three-quarter face, to the right. She has fair hair and 
 wears a red robe with a blue cloak. The Child lies on a dark red cloth. St. Joseph 
 is seated on the left, his head resting on his left hand; with his right hand he 
 holds a long staff. Immediately behind the saint is a cliff, against which is built 
 the shed which contains the ox and the manger. In the background is a mount- 
 ainous and wooded country. On the right is a rose-coloured building. 
 
 This picture belongs to the master's earlier period. 
 
 Panel, g\ by y\ inches. 
 
 Sir Frederick Cook, Bt., M.P. 
 
 SANO di pietro. 
 
 1406 — 148 1. 
 
 36 Crucifixion. 
 
 Below the cross, at Christ's right hand, sits His mother; on His left sits 
 St. John. Behind them stretches a hilly country. The Virgin wears a red dress 
 and a blue cloak, the young St. John a blue-gray dress and a dark-red cloak. 
 
 This work is not equal in quality to the master's undoubted predella pictures, 
 
 H 
 
5« 
 
 Pi&ures of the School of Siena 
 
 but it has all the morphological characteristics of his work, and it has Sano's deep 
 religious feeling. Its present deficiency in quality is due to its condition. 
 Panel, gold ground, iof by I if inches. 
 
 Lent by Lady Burne-Jones. 
 
 MATTEO DI GIOVANNI. 
 1430 circa — 1495. 
 
 37 Madonna and Two Saints. 
 
 The Virgin is represented half-figure. She wears a blue cloak with a robe of 
 white and gold brocade underneath. The Child, entirely nude, is seated on her 
 right hand. To the left is St. John the Baptist holding a cross in his left hand; to 
 the right, St. Michael crowned with flowers bearing a sword in his right hand and 
 scales in his left. 
 
 Panel, on gold ground, 22\ by 16 inches. 
 
 Lent by Henry Willett, Esq. 
 
 SCHOOL OF MATTEO DI GIOVANNI. 
 1430 circa — 1495. 
 
 38 The Flagellation of a Saint. 
 
 The saint, naked but for a cloth round his loins, stands in the centre of a 
 hall of judgment, and is beaten with rods by two executioners. A ruler or judge 
 sits on a throne on the left, with an attendant by his side. On the right stand two 
 spectators. There is an elaborate architectural framework to the picture. The 
 building wherein the scene takes place is adorned with tondi and a lunette of 
 bas-relief, as is Herod's palace in some of this master's representations of the 
 Massacre of the Innocents. 
 
 The picture does not represent a vision of St. Jerome, as has been supposed. 
 It is not by the hand of Matteo, though executed in his bottega. 
 
 Panel, 14 by 25 inches. 
 
 Lent by the Earl Brownlow. 
 
 NEROCCIO DI BARTOLOMMEO. 
 H47— 1500. 
 
 39 Madonna and Child. 
 
 The Virgin is represented three-quarter figure and seated. She wears a dark 
 blue cloak and a red dress with a narrow golden girdle. The Child lies at full- 
 length on her lap, supported by her right hand. As is usual in the works of 
 Neroccio, He is represented with very fair, curly hair. Behind the Virgin stand two 
 
PiSiures of the School of Siena 
 
 59 
 
 saints. To the left is S. Bernardino of Siena holding a tablet, on which was the 
 sacred monogram, now effaced. To the right is St. Catherine of Siena holding a 
 tall lily. In the background is a blue sky streaked with white. 
 
 This picture belongs to Neroccio's early period, when he shared a studio with 
 Francesco di Giorgio. It was probably painted about the year 1474. In the S. 
 Bernardino we can trace clearly the influence of his master Vecchietta. 
 
 Panel, 19 by I2-| inches. 
 
 Formerly in the collections of Mr. Charles Butler. 
 
 Lent by the Syndics of the Fitzwilliam Museum, Cambridge. 
 
 A follower of FRANCESCO DI GIORGIO. 
 The Triumph of Chastity. A Cassone front. 
 
 The Subject is taken from Petrarch's poem in terza rima, " Trionfi in Vita e 
 in Morte di Madonna Laura " : 
 
 " L'Amore trionfa dell' Uomo, 
 La Castita trionfa di Amore, 
 La Morte trionfa di ambe due ; 
 La Fama trionfa della Morte, 
 II Tempo trionfa della Fama, 
 E 1' Eternita trionfa del Tempo. 
 
 In the second canto the poet tells the story of the battle between Love 
 and Chastity in the person of Laura. He describes the victory and triumph of 
 Chastity, and tells how Chastity, accompanied by a troop of maids and chaste 
 matrons, led Love a prisoner to her temple at Rome, and afterwards conse- 
 crated his bow and arrows in memory of his defeat. This triumphal procession 
 forms the subject of the present panel. Chastity, personified by Laura, is en- 
 throned on a triumphal car, arrayed in cloth of gold, holding on her knee an 
 open music-book. On the platform in front of her kneels Love, his hands bound 
 behind him, while two " amorini " clip his wings. The car is richly decorated with 
 scarlet and gold hangings, and festooned with garlands of green leaves. It has 
 massive bronze wheels, and is drawn by a pair of white unicorns. Laura is 
 attended by fifteen maidens, who, like herself, have forsworn allegiance to Love. 
 Three precede the car, the foremost carrying a banner which bears the device of 
 an ermine, the emblem of Chastity; the other twelve follow, and close the pro- 
 cession. All are attired in long robes of gold, yellow, scarlet or blue ; which flutter 
 round their feet as they move onwards with lively step to the rhythm of Laura's 
 song. Their long, fair hair is bound by narrow, dark fillets, and each bears in her 
 hand a small, triumphal palm-branch. The scene is by the sea-shore, a rocky islet 
 
6o 
 
 PiEiures of the School of Siena 
 
 to the left and a distant city on rising ground to the right. A few slender trees 
 rise against the sky. 
 
 This panel, if not actually the work of Francesco di Giorgio himself, was 
 painted by some artist working under him in the bottega the great architect shared 
 with Neroccio di Bartolommeo. 
 
 Panel, 16 by 48^ inches. 
 
 Formerly in the collection of Mr. Alexander Barker. 
 Exhibited at the New Gallery, 1893-4. 
 
 Lent by the Lady Wantage. 
 
 NEROCCIO DI BARTOLOMMEO. 
 I447—I500- 
 
 41 Madonna and Child. 
 
 The Virgin is represented standing, three-quarter length. She wears a blue 
 cloak, and a red gown fastened by a girdle. Behind her stand two saints — St. John 
 the Baptist to the left bearing a scroll, and St. John the Evangelist, youthful and 
 with long, fair hair, to the right, having a pen in his right hand, and a closed book 
 in his left. 
 
 This picture probably belongs to the master's middle period. The Virgin's 
 robe is in simpler, broader folds than is the drapery in Neroccio's earlier works. At 
 the same time it has none of the classical feeling that begins to show itself in the 
 "Madonna and Six Saints" in the Siena Gallery, which bears the date 1492. 
 
 Panel, 24^ by 17 inches. 
 
 Lent by Mr. and Mrs. Arthur Severn. 
 
 MATTEO DI GIOVANNI. 
 1430 circa — 1495. 
 
 42 Madonna and Child. 
 
 The Virgin is represented half-figure. The child, entirely naked, lies on her 
 lap. Behind the Virgin stand St. Sebastian and St. Francis. 
 
 This picture is of about the same date as a Madonna by Matteo in the Siena 
 Gallery. In both pictures we find the same auburn-haired infant, who is also to 
 be seen in the S. Agostino " Massacre of the Innocents." It is an unusual type, 
 and is vividly presented. 
 
 Panel, on gold ground, 20^ by 15^ inches. 
 
 Formerly in Mr, Ruskin's collection. 
 
 Lent by Mr. and Mrs. A rthur Severn. 
 
Pi&ures of the School of Siena 61 
 
 SCHOOL OF MATTEO DI GIOVANNI. 
 1430 circa — 1495. 
 
 43 The Vision of St. Augustine. 
 
 St. Augustine, in cope and mitre, is seated facing the spectator, writing at a 
 desk, in a raised loggia. St. John Baptist and St. Jerome, each clad in camel's 
 hair and crowned, appear to him in a mandorla surrounded by cherubim. An 
 Augustinian monk is about to enter the loggia from the left. 
 
 This picture, like No. 38 has hitherto been styled " A scene from the life of 
 St. Jerome." It stands in near relation to the works of Matteo himself. 
 
 Panel, 14 by 25 inches. 
 
 Lent by the Earl Brownlow. 
 
 MATTEO DI GIOVANNI. 
 1430 circa — 1495. 
 
 44 Portrait of a Lady. 
 
 In profile to left. She wears a pale blue dress and a coral necklace with jewel 
 attached. Her fair hair is enclosed in a white cap. 
 
 Panel, cream-coloured background, 19^ by \2\ inches. 
 Formerly in the collection of William Graham, Esq. 
 
 Lent by Dr. Ludwig Mond. 
 
 GUIDOCCIO COZZARELLI 
 Working in the latter half of the fifteenth century. 
 
 45 The Crucifixion. 
 
 Christ is crucified between the two thieves. At the foot of the cross stand 
 St. Mary Magdalene and St. John the Evangelist. To the right the Virgin swoons, 
 supported by two holy women. Behind this group is a soldier on a white horse, 
 looking upward. On the other side St. Longinus on a black horse points to 
 the Christ. In the background is a hilly landscape, and in the middle distance a 
 river. 
 
 Panel, inches by 1 5^ inches. 
 
 Lent by Mrs. Worthington. 
 
 GUIDOCCIO COZZARELLI. 
 Working in the latter half of the fifteenth century. 
 
 46 The Call of St. Andrew and St. Peter. 
 
 Christ stands on the left in a crimson robe and blue cloak upon a promon- 
 tory of flat rock. In a boat in the centre are St. Peter and St. Andrew. St. 
 
62 
 
 PiElures of the School of Siena 
 
 Andrew has long hair and beard almost white, and wears a scarlet robe. St. Peter 
 wears a short brown garment open at the breast. The two apostles have dropped 
 their oars and are about to leave their boat at the call of Christ. In the back- 
 ground stretches away the sea of Galilee, fringed by conical hills. On the right is 
 a fisher's boat, on the shore on the left a large castle. 
 
 Guidoccio Cozzarelli was one of Matteo's pupils. He excelled as a miniaturist. 
 Some of his later works have a strong likeness to the achievement of Andrea di 
 Niccolo. 
 
 Panel, unvarnished, II by \2\ inches. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 BENVENUTO DI GIOVANNI. 
 1436 — 1 518 circa. 
 
 47 Madonna and Child. 
 
 The Virgin is standing, three-quarter figure. The child leans against her right 
 breast, supported by her right arm. He is naked, but for a white cloth thrown 
 round him. His right foot rests on a cushion placed on a parapet in front of the 
 Virgin. In the background is a landscape, with a hedge of roses and jasmine in the 
 middle distance. 
 
 Panel, 19^ inches by 13^ inches. 
 
 Lent by George Salting, Esq. 
 
 PIETRO DI DOMENICO. 
 J 457— 1 501 
 
 48 Madonna and two Saints. 
 
 The Virgin is seated three-quarter figure, full face, with hands joined in 
 prayer over the Child, who lies at full length on her lap entirely nude, His head 
 resting on a cushion of gold brocade. The Virgin's gown is of cloth of gold, with 
 slashed sleeves, showing the white under-garment. To the left stands St. Jerome 
 with a stone in his right hand, and a rosary in his left. To the right is 
 St. Sebastian. 
 
 This picture is an early work of the master, earlier than the Presepio in the 
 Siena Gallery (No. 390). 
 
 Panel, on gold ground, 26 by 1 5^ inches. 
 
 Lent by the Earl of Crawford, K. T. 
 
PiSiures of the School of Siena 
 
 63 
 
 A FOLLOWER OF BENVENUTO DI GIOVANNI. 
 Madonna and Child. 
 
 The Virgin is represented, three-quarter figure, seated. She wears a blue 
 cloak and a red robe, which has sleeves of cloth of gold. Between the cloak and 
 her fair hair is a veil, which has a pattern in gold on the centre and the sides, 
 such as is to be found in the same position in Benvenuto's Madonna at the 
 National Gallery. The edge of her cloak is also embroidered with gold. The 
 Child is represented nude, and seated upon a cushion, holding a carnation in His 
 left hand. He wears a coral necklet and a bracelet, as in Benvenuto's picture in 
 the National Collection. In the Virgin's halo, and repeated on the frieze of the 
 tabernacle, is the inscription "AVE GRATIA PLENA." 
 
 The panel is in somewhat close relationship to the picture by Benvenuto di 
 Giovanni, in the National Gallery, although it is inferior in quality to that great 
 work. The child's feet, with their short, ill-formed nails, the Virgin's hand, the 
 treatment of the child's hair, and the flower in his hand, the patterns on the 
 Madonna's veil and her cloak, all recall the larger picture. But there are faults of 
 drawing in the child, in his proportions, and also some deficiencies in the quality 
 of the picture which point to its being the work of a pupil. 
 
 Panel, in original tabernacle; measurement of panel, 17^ by 11^ inches; 
 measurement of tabernacle, 28 by i8f inches. 
 
 Lent by G. Harland Peck, Esq. 
 
 BENVENUTO DI GIOVANNI. 
 1436 — 1 5 18 circa. 
 
 Madonna and Child. 
 
 The Virgin is represented three-quarter figure and standing. She wears a 
 robe of rich gold brocade, and a dark blue cloak. Between her fair hair and the 
 cloak is a white veil which hangs down on either side of her head. On her breast 
 is a beautiful jewel, a characteristic example of fine Sienese goldsmith's work. 
 
 The Child is seated on the Virgin's left arm. A transparent veil is lightly 
 thrown round His lower limbs, and over it is a red cloth. His arms and body are 
 bare. In His left hand He holds a goldfinch. His right hand is raised in blessing. 
 Two golden-haired angels, their hands in the attitude of prayer, stand behind the 
 Virgin. 
 
 This picture is in fine condition. It was painted in the latter part of 
 Benvenuto's middle period. The drawing is freer and less generalized than in his 
 earlier works, the modelling more subtle ; the Child, too, it will be noticed, is 
 partially nude, and is altogether more human and more child-like than in 
 
6 4 
 
 Pi Slur es of the School of Siena 
 
 Benvenuto's earliest presentations of the infant Jesus. Nevertheless the design of 
 the folds of the red cloth is strongly reminiscent of Benvenuto's earlier manner. 
 Panel, on gold ground, 25 by 16 inches. 
 
 Exhibited at the Exhibition of Early Italian Art, New Gallery, 1893-4. 
 
 Lent by F. E. Sidney, Esq. 
 
 ANDREA DI NICCOLO. 
 1460 — 1529. 
 
 51 Virgin and Child. 
 
 The Virgin is represented a little more than half length. She is seated facing 
 the spectator, her head inclined and half turned to right. She holds on her lap the 
 infant Christ. Her left hand is round His back, her right under His knees. She 
 wears a dark blue mantle, drawn over the head so as to cover the hair completely, 
 and a red dress, edged with gold lace and confined high up with a girdle tied in 
 a bow. The Child, facing left, leans back and is wrapped below in a loose white 
 drapery. His right hand is raised almost to His chin, His left lightly touches the 
 drapery. On the right, looking over the Virgin's shoulder, is St. Peter, dressed in 
 pink, gray-bearded and tonsured, holding a key; on the left, St. Jerome in gray, 
 with a gray beard, holding a stone. Only the heads and parts of the hands and 
 bodies are seen of these two figures. 
 
 This picture is an early work, painted under the influence of Neroccio di 
 Bartolommeo. 
 
 Panel, on gold ground, 19 by 14 inches. 
 
 Formerly in Mr. Charles Butler's collection. 
 
 Lent by the Syndics of the Fitzwilliam Museum, Cambridge. 
 
 GIROLAMO DI BENVENUTO. 
 1470— 1524. 
 
 52 Portrait of a Lady. 
 
 This lady is represented life size, three-quarter face to left. Her eyes are 
 turned to look at the spectator. The figure is seen to the waist. She wears a green 
 dress, slashed on the shoulders, open in front, and laced over a white pleated 
 chemise. Her right hand is pressed to her breast. Her hair is fair and wavy, and 
 touched with high lights. From her head falls transparent white drapery, over 
 which she wears round her forehead a gold fillet. Round her neck is a string of 
 pearls with a pendant. The background is black with an interlaced border of gold. 
 
 The history of this picture is known from the beginning of the last century, 
 
PiBures of the School of Siena 
 
 when it belonged to Cavaliere Antonio Piccolomini Bellanti of Siena, and bore 
 traditionally the title of " Portrait of Laura by Simone di Martino." 
 
 1. From a document dated Pisa, ioth July, 1811, signed by Prof. Carlo 
 Lasinio (engraver and custode of the Campo Santo at Pisa) and countersigned 
 by Vittorio Sampieri, it appears that doubt had been thrown by Lasinio on the 
 attribution to Simone, and in reply to a challenge by the owner, he writes 
 guardedly. He says, for example, that the hand was better drawn than the 
 hands Simone painted, evidently having a suspicion that the picture was of later 
 date. He concludes, however, by accepting it as possibly by Simone, and praises 
 it as a work of art. 
 
 2. A second document, dated Siena, 25th, July, 181 1, signed by Paolo Mari 
 (Head Chemist of the Hospital), Angiolo Martelli (chemist), Liberio Gurrini 
 (painter), and Giuseppe Lusini, (painter), records an inquiry upon the question 
 whether the picture was in oil or tempera, and their decision, that it was in 
 tempera. 
 
 3. A letter, dated Florence, 8th February, 1812, of Pietro Benvenuti (an 
 esteemed painter of the period), records that he found the portrait to resemble 
 the head in the Spanish Chapel, then accepted on Vasari's authority as the por- 
 trait of Laura by Simone. 
 
 4. A fourth document, a short letter signed by Raphael Morghen (born 
 1758, d. 1833), undated, but evidently of 1812, confirms Benvenuti. 
 
 5. A letter, dated Siena, 7th Sept., 1812, signed by Sebastian Brancaleone, 
 gives the opinion of that art critic, viz., that the portrait is positively of Laura by 
 Simone. 
 
 6. A letter, dated Fermo, 12th August, 1857, fr° m P r °f- Zeffirino Re, writer on 
 art, addressed to Bellanti's daughter, mentions that he is a firm believer in the 
 authenticity of the portrait, and refers to Raphael Morghen's engraving. A copy 
 of the engraving, which was probably executed about 1812, is exhibited herewith. 
 Belanti's daughter married a Signor Ciaccheri, and resided in Florence. By her 
 the picture was sold to Mr. Agnew, about nine years ago. 
 
 Panel, including moulding, 25 by 19 inches. 
 
 Lent by W. Lockett Agnew, Esq. 
 
 GIROLAMO DEL PACCHIA. 
 I477—I535- 
 
 53 Madonna and Saints. 
 
 The Virgin is represented, three-quarter figure, and seated. Her robe is of red, 
 and her dark-blue mantle is lined with green. The child, supported by the mother's 
 right arm, leans against her breast caressing her. Four angels stand behind the 
 Virgin, two on either side. On the right is St. Catherine of Siena bearing a lily 
 
 I 
 
66 
 
 PiSiures of the School of Siena 
 
 in her left hand. On both of her hands the stigmata are shown. On the left is 
 St. Bernardino holding in his left hand a tablet bearing the sacred monogram, to 
 which he points with his right. 
 Panel, 8i by 14! inches. 
 
 Lent by Herr A. von Beckerath, of Berlin. 
 
 GIROLAMO DI BENVENUTO. 
 1470— 1524. 
 
 54 Four Scenes from the Life of Christ. 
 
 1. Christ bearing the cross. Jesus is represented with two half-nude figures 
 of executioners on either side of him, the one dragging him along by a cord round 
 his neck, the other buffeting him from behind. Pilate in armour follows on a 
 white horse, accompanied by other horsemen. On the right is a group of women 
 with the Virgin at their head. Two youths are standing in the trees above 
 them, and a Roman soldier is seated on a rock in the foreground. The City of 
 Jerusalem is seen in the horizon. In the middle distance are two cypresses and 
 other trees. 
 
 2. The Crucifixion. In the centre of the picture is Christ on the Cross. On 
 the left is the Centurion on a black horse, his eyes restored to sight. In front of 
 Him is a group of seven women. The Virgin faints in the foreground. To the 
 right is Pilate on a white horse. Near at hand are the soldiers casting lots, with 
 Scribes and Pharisees behind them. 
 
 3. The Resurrection. The risen Christ stands in front of the rock-hewn 
 tomb, of which the door has fallen. The guards, stricken with terror, lie about the 
 foreground. There is a fantastic background of rocks and trees. 
 
 4. Christ's Descent into Hades. Nude, save for a white garment thrown over 
 one shoulder, Christ stands on the door of Hades which has fallen forward 
 and crushes the devil beneath. Adam and Eve and the leaders of the old dis- 
 pensation crowd forward to meet him. 
 
 This is an early work, probably painted when Girolamo worked with his 
 father Benvenuto. 
 
 Panels, each 16 by 28f inches. 
 
 Lent by Sir Frederick Cook, St., M.P. 
 
 SIENESE SCHOOL. 
 
 55 Madonna and two Saints. 
 
 The Virgin is standing full face, three-quarter length, and with her right 
 hand holds the Child, who stands on a parapet in front of her, clad in a white 
 shirt, with a cloth of rose colour thrown round His loins. He wears a coral neck- 
 
PiStures of the School of Siena 
 
 6 7 
 
 lace and bracelets, and holds a rose in His left hand, which His Mother's fingers 
 caress. To the left, stands a bishop, probably a local saint — it may be S. Savino 
 — in a cope of rich brocade; to the right, St. Sebastian holding a crown. Inscribed 
 on the parapet are the words " AVE GRATIA PLENA." 
 
 This picture was painted by some artist who was strongly influenced by 
 Pietro di Domenico, and in a less degree by Pacchiarotto and Fungai. The 
 artist probably belonged to that group of religious painters of the sixteenth 
 century to which the Suor Barbera Ragnoni and the Monache di Santa Marta 
 belonged. 
 
 Panel, 34 \ by 28 inches. 
 
 Lent by Henry Wagner, Esq. 
 
 GIROLAMO DEL PACCHIA. 
 
 I477—I535- 
 
 56 Madonna and Child. Tondo. 
 
 The Virgin is represented seated, three-quarter figure. The child, naked, lies 
 on her lap, supported by her left hand. Behind her stands St. Joseph and St. 
 Catharine of Siena. 
 
 Panel, 26f inches in diameter. 
 
 Lent by Sir Hubert Parry, Bt. 
 
 GIROLAMO DEL PACCHIA. 
 I477—I535- 
 
 57 Venus. 
 
 The Goddess is represented almost life-size, lying down, reclining on her right 
 elbow. She is almost nude, save for a twisted red cloth twined round her hips and 
 left leg. Over her shoulders a cloak of a deeper red colour is lightly thrown. 
 Cupid and two amorini are playing about her. Cupid, blindfolded, stands near 
 her feet, holding his bow with both hands. One of the amorini, kneeling on the 
 Goddess's hip, bears a small parasol ; the other embraces her, sitting on her right 
 arm. Behind is an open valley of rocks and trees. 
 
 This painting has been ascribed to Pacchiarotto, and the name of Balducci has 
 also been mentioned. But, apart from other considerations, it is far too strong in 
 modelling for Pacchiarotto, and has none of the hardness and dryness of Balducci's 
 nudes. It is undoubtedly a work of Pacchia, and has the softness and rotundity 
 of the Master's other works of his last period. The amorino in the centre is of a 
 type very common in Pacchia's work, and closely resembles his representations of 
 the Divine Child. 
 
 This picture was painted probably about the year 1520, when this eclectic 
 
68 
 
 PiSlures of the School of Siena 
 
 artist was under the influence of Sodoma. It has a good deal of Sodoma's fleshi- 
 ness and superficial sentiment. 
 
 Panel, 24^ by 57^- inches. 
 
 Formerly in the Graham Collection. 
 
 Lent by Lieut.-Col. Sir Herbert Jekyll, K.C.M.G. 
 
 GIROLAMO DEL PACCHIA. 
 I477—I535- 
 
 58 Madonna and Child. 
 
 The Virgin is represented three-quarter figure and seated. She has a red 
 dress and a blue robe lined with green. The Child, entirely nude, leans against 
 his mother's right side. 
 
 The type of the mother and the composition of the picture reveal the influence 
 of Raphael. The picture was, perhaps, painted shortly after the Master's return 
 to Siena from Rome. The background has been repainted. 
 
 Panel, 26\ by 20\ inches. 
 
 Formerly in the collection of Mr. Henry Willett. 
 
 Exhibited at the Exhibition of Italian Art at the New Gallery, 1893-4, under 
 the name of Cesare da Sesto. 
 
 Lent by Sir Martin Conway. 
 
 MATTEO DI BALDUCCI. 
 
 Working in the first quarter of the sixteenth century. 
 
 59 Diana and Actaeon. 
 
 On the right Diana and two nymphs stand in a pool of water entirely nude, 
 their figures relieved against trees. Diana has jewels in her braided hair, and wears 
 a necklace, and on her head a crescent. Actaeon, on the left, turned to a stag, is 
 starting to fly from three hounds. In the background is a hilly wooded country 
 dotted with horsemen and hounds, and, farther away, the sea with ships upon it. 
 
 Panel, circular, 22\ inches in diameter. 
 
 Lent by the Earl of Crawford, K.T. 
 
 DOMENICO BECCAFUMI. 
 1479-1549. 
 
 60 The Flight of Cloelia. 
 
 Cloelia and seven companions are fleeing on horseback across the Tiber away 
 from the camp of Lars Porsenna, seen on the right; Cloelia, astride of a white 
 
PiSlures of the School of Siena 
 
 6 9 
 
 horse, is safe across, and looks back at the others, some of whom are still in the 
 river; others are struggling out, and some are in the act of leaping in. The city of 
 Rome is seen on the left, with the Castel S. Angelo in the centre, and Soracte in 
 the distance. 
 
 Panel, 24 by 48-I- inches. 
 
 From the Blackden Collection, Christie's, 1803. 
 
 Lent by Mrs. Robert Benson. 
 
 BALDASSARE, PERUZZI. 
 1481— 1537. 
 
 61 Portrait of Alberto Pio da Carpi. 
 
 Alberto Pio is represented half-figure, wearing a dark dress trimmed with 
 fur. He stands facing the spectator. Long auburn hair falls over his shoulders 
 On his head is a black cap. He holds, in his left hand, an open book. On the 
 upper border of the dress is the inscription, " ALBERTUS PIUS CARP. ...►£< MDXII." 
 Through the colonnade behind him is seen a spacious landscape, in which are 
 wandering graceful symbolical figures, Truth, Fortitude, Knowledge, and several 
 others. They suggest that Peruzzi, eclectic by nature, had borrowed some of the 
 graceful accessories of the early Bologna School. 
 
 Panel, tempera, 22\ by 19 inches. 
 
 Exhibited at the Royal Academy, Old Masters Exhibition, 1895. 
 
 Lent by Dr. Ludwig Mond. 
 
 DOMENICO BECCAFUMI. 
 I479—I549- 
 
 62 The Ordeal of St. Lucy. 
 
 In the centre of the atrium of the Governor of Syracuse St. Lucy stands 
 in prayer, the daylight falling full on her from the left. A cord round her waist 
 is attached to two yoked bulls that strain in vain to move her to the right. 
 Two men urge the bulls on with cords tied to their horns. On the left an 
 executioner, half nude, brandishes a sword, vainly trying to reach the saint with 
 his blows. Behind him stands St. Lucy's betrothed, who had denounced her to the 
 Governor, and another spectator. In the middle distance, in shadow, sits Pascha- 
 sius the Governor, in red robes, upon his judgment seat, and directs the execu- 
 tion. Through three round archways are seen three more round archways at 
 right angles, a group of seven spectators in the open air, and a sunny landscape. 
 
 Panel, 22\ by 32 inches. 
 
 From the Torlonia Collection. 
 
 Lent by Mrs. Robert Benson. 
 
PICTURES AND DRAWINGS 
 
 In the Members' Writing-Room. 
 (a) PICTURES 
 
 AMBROGIO LORENZETTI. 
 1285 circa — 1348. 
 
 63 The Crucifixion. 
 
 In the centre Christ on the Cross; at the foot, St. Francis and S. Clara 
 kneeling, and the Virgin and St. John standing. At the top of the Cross is an 
 inscription ; above it an angel floats with crimson wings outstretched, and holding 
 a scroll. On either side is a company of angels, now nearly effaced. 
 
 Gold ground, with a border of conventional fig leaves; Gothic top (the apex 
 broken). 
 
 Panel, inches by 13 inches. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 SCHOOL OF DUCCIO. 
 
 64 A Saint. 
 
 The saint is seen in half figure ; he wears a scarlet cloak lined with fur ; in 
 his right hand he holds a mace ; a sword is at his side. 
 
 This picture and its companion the " St. Catherine" (No. 66) are good works 
 of Duccio's school. 
 
 Panel, on gold ground, with round top, 27 by \6\ inches. 
 
 Bought in Siena by the father of the present owner. 
 
 Lent by the Right Hon. W. Ellison Macartney. 
 
 SIENESE SCHOOL. 
 
 65 Madonna and Child. 
 
 The Virgin is seated. She supports the Child with her left hand. Both infant 
 and mother look down at the small figure of a male donor, in a red robe, who 
 kneels on the left. On the other side is the wife of the donor clothed in black, and 
 
PiBures and Drawings of the School of Siena 71 
 
 holding a rosary. In the background is a hanging of red brocade with a gold 
 pattern. At the bottom of the panel is the inscription : " QUESTA TAVOLA A FATTA 
 FARE TIGHO DI DOFFO BUGGANI, A.D. MCCCLXXXXV." 
 
 This picture was painted by some artist who was under both Sienese and 
 Florentine influences. It recalls at once the works of Berna and his followers, and 
 of Lorenzo di Bicci. Giovanni d'Asciano answers to this description as far as it 
 goes. He worked under Berna at S. Gemignano, and afterwards, according to 
 Vasari, was employed in Florence in the old Medici palace where Lorenzo di 
 Bicci also worked. The picture may have been painted by him in Florence. 
 
 Panel, 50^ inches by 24-I- inches. 
 
 Lent by Lieut-Col. Sir Herbert Jekyll, K.C.M.G. 
 
 SCHOOL OF DUCCIO. 
 
 66 St. Catherine of Alexandria. 
 
 The saint is represented in half figure. Her head is covered with a white 
 veil, and she wears a jewelled crown. Both her robe and her cloak are pale blue 
 covered with a gold pattern. The cloak is fastened by a morse. She holds a palm 
 in her right hand. 
 
 Panel, on gold ground, with round top, 26^ by i6£ inches. 
 
 Bought in Siena by the father of the present owner. 
 
 Lent by the Right Hon. W. Ellison Macartney. 
 
 SCHOOL OF SIMONE MARTINI. 
 {circa 1340.) 
 
 67 St. Michael between St. Augustine and St. Ambrose. 
 
 In centre panel St. Michael, in close-fitting pale green tunic with a deep 
 embroidered border, a brown cloak falling over left shoulder and wrapped round 
 below the breast, holds a sword upright in his right hand, which is pressed against 
 his body; between finger and thumb of left hand a pair of scales, in one cup of 
 which is a small figure in white in attitude of prayer. St. Michael has curling 
 yellow hair, with tresses falling on to the shoulders, and folded wings curving to 
 the front. Figures half-length. 
 
 In right panel St. Augustine, full-face, in an embroidered cope over a dark-blue 
 cowl, a crozier in right hand, a red book in left ; he has a short gray beard and 
 wears a mitre; on his hands are embroidered gloves. 
 
 In left panel St. Ambrose in a red chasuble over an amice; like St. Augustine 
 he holds crozier and book, and wears similar gloves, and mitre; the book, however, 
 is black. He has a short brown beard, and his head is inclined a little to right. 
 
 All the figures are on a gold ground and have ornamental halos. In each of 
 the three triangles above is the half-length figure of an angel. All are fair-haired 
 
72 Pictures and Drawings of the School of Siena 
 
 and seen full face, but differ in the colours of their dress. The figure on left 
 wears bright pink cloak over embroidered white robe ; his wings are white ; the next 
 wears pale pink cloak over dark blue robe, and has pink wings ; the third on right 
 has white wings and his robe and cloak are both pale green. 
 
 Altar-piece on wood, 6 panels. The 3 lower are arched at top, each 1 foot 
 I \\ inches by 1 foot 2 inches. The upper are triangular, 1 foot I inch high by I foot 
 at base. 
 
 Formerly in Mr. Charles Butler's collection. 
 
 Lent by the Syndics of the Fitzwilliam Museum, Cambridge. 
 
 LUCA DI TOMME. 
 Working in the latter half of the fourteenth century. 
 
 68 Madonna and Child with Adoring Angels. 
 
 The Madonna seated, her head inclined to right, holds with both hands the 
 infant Christ, Who stands on her left knee, facing the spectator. His hands are 
 lowered; the left holding a linnet, the right laid on His Mother's right wrist. He 
 is wrapped below the waist in a pink robe over a white cloth; from His neck hang 
 on a string a piece of coral and a cross. The Virgin is clad in a dark blue cloak, 
 drawn over the head, and open in front to show a red dress. Both cloak and dress 
 are edged with gold. 
 
 The back of the gothic throne, and the seat of it, is covered with rich cloth 
 of gold. Four angels stand behind the throne, two on either side. Their heads 
 alone are visible. 
 
 Panel, 5 feet 3 inches by 2 feet 10 inches, arched at top. 
 
 Formerly in the collections of Mr. C. Butler. 
 
 Exhibited at the Royal Academy, Old Masters Exhibition, in 1885. 
 
 Lent by the Syndics of the Fitzwilliam Museum, Cambridge. 
 
 SCHOOL OF AGNOLO GADDI. 
 
 69 Madonna and Child. 
 
 The Virgin is seated on a cushion. Her left bosom is bare. The child kneels 
 on her knee, supported by her right hand. Three angels float on either side, two 
 of them holding a crown above the Virgin's head. 
 
 This picture has been exhibited because, though belonging to the Florentine 
 school, the type and execution of the Virgin suggest a Sienese artist working in 
 the bottega of Agnolo Gaddi. 
 
 Panel, 32-I- by 19^ inches. 
 
 Lent by Monsieur Rodolphe Kann. 
 
PiSiures and Drawings of the School of Siena 
 
 SCHOOL OF NEROCCIO DI BARTOLOMMEO. 
 
 70 Madonna and Child. 
 
 The Virgin is seen in three-quarter figure. The child, fully clothed, is seated, 
 supported by her right hand. On the left is an angel crowned with roses, with 
 St. Jerome standing below, on the right another angel, with St. Anthony the 
 hermit below. 
 
 The picture is by some artist who was trained in the bottega of Neroccio 
 di Bartolommeo and Francesco di Giorgio. A Madonna by the same master is 
 to be seen in the present Mostra dell' Antica Arte Senese (No. 132). 
 
 Panel, 28^ by 20 inches. 
 
 Lent by Charles Butler, Esq. 
 
 (S) DRAWINGS. 
 
 DOMENICO BECCAFUMI (attributed to). 
 
 71 Study for a Male Saint, perhaps St. Anthony the Hermit. 
 
 He stands facing, in ample drapery, bareheaded, with a long beard, holding 
 a staff in his right hand and a book in his left. 
 From the Spannocchi collection. 
 Pen and bistre on paper, 10^- inches by 3^ inches. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 FRANCESCO VANNI. 
 Flourished in the latter part of the sixteenth century. 
 
 72 The Virgin receiving St. Catherine. 
 
 The Virgin standing upon a cloud stoops to embrace St. Catherine, who 
 kneels before her; below, supporting, float four winged cherubs. 
 In this drawing the influence of Baroccio is very marked. 
 Drawing in red chalk on white paper, j\ inches by 5-| inches. 
 
 Lent by Sir Edward J. Poynter, Bt., P.R.A. 
 
 FRANCESCO VANNI. 
 Flourished in the latter part of the sixteenth century. 
 
 73 Madonna in ornamental frame work. 
 
 The Virgin is seated on a throne; under a canopy the Child, naked, supported 
 by her right hand, is placing the ring on the finger of St. Catherine of Alex- 
 
 K 
 
74 Pi&ures and Drawings oj the School of Siena 
 
 andria, who kneels on the right; on the left stands St. John the Baptist, carrying 
 in his left hand a tall cross round which is twisted a scroll bearing the inscription 
 "ECCE • AGNUS • DEI."; his right hand points to the Child. 
 
 The artist has inserted the design of one half of the frame, which we learn 
 from the inscriptions was to consist of representations of the Rosary, with the 
 Mysteries of the Rosary carved on alternate tondi. In one of the tondi in the 
 border of the frame is a direction to the frame carver: 
 
 "QUI VAfiO I MISTERII DELLA ROSARIA " ; 
 On the border of the frame is: 
 
 "Q A E LA CORNICE CHE VA DI LEGNIAME. FINTA DI NOCE E BOUSTATA 
 DI ORO." 
 
 This drawing reveals the influence of Sodoma, and in a greater degree that 
 of Baroccio, or Francesco. 
 
 An earlier study for the same picture is in the Marchese Chigi's Collection 
 in the Chigi (formerly Saraceni) Palace at Siena. 
 
 Pen and wash drawing on paper, g\ inches by y\ inches. 
 
 Lent by Sir James Knozvles, K.C. V.O. 
 
 SANO DI PIETRO. 
 1406 — 1481. 
 
 74 Study for a Female Saint. 
 
 She holds a palm branch in her right hand and a book in her left. 
 Silverpoint, on pale blue prepared ground, heightened with white. 
 9! inches by 6\ inches. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 DOMENICO BECCAFUMI. 
 
 I479—I549- 
 
 75 Study for a Madonna and Child. 
 
 The Virgin seated. The Child stands on her knee; whilst below stands the 
 young St. John. On either side, behind the Virgin, are two Saints. 
 Pen and wash drawing on paper. 4^ inches by 3| inches. 
 
 Lent by Sir Edward J. Poynter, Bt., P.R.A. 
 
 DOMENICO BECCAFUMI. 
 
 75A Study of Seven Figures. 
 
 Six of them standing, and one recumbent, some nude, and some slightly 
 
PiBures and Drawings of the School of Siena 75 
 
 draped; all in pen and bistre, except one standing figure which is indicated in 
 pencil. 
 
 On the reverse two nude figures, one standing, the other recumbent ; in pen 
 and bistre. 
 
 From the collections of Jonathan Richardson and Sir Joshua Reynolds. 
 6\ inches by j\ inches. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 MARTINO DI BARTOLOMMEO. 
 Died 1434. 
 
 76 St. John the Evangelist and St. Luke. 
 
 St. John in profile blowing on his pen, the eagle supporting his manuscript. 
 Below him is St. Luke reading a scroll ; the head of the bull is seen behind. Above 
 is indicated the figure of a high priest, probably St. Simeon. 
 
 Pen and bistre on paper, 1 1 by 4^ inches. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 SCHOOL OF ANTONIO BARILI, AND HIS NEPHEW 
 GIOVANNI BARILI. 
 
 77 Frame of Carved Walnut Wood. 
 
 On a flat surface three and a quarter inches broad are elaborately carved 
 scrolls, with foliage and tendrils, roses, lilies, and other flowers, amongst which sport 
 amorini. Grasshoppers, lizards, snails and peacocks, and other birds are inter- 
 spersed amongst the foliage and flowers. In the centre at the bottom is a fountain : 
 on either side of which the scrolls end in terminal figures of winged females. The 
 whole is carved with singular delicacy, and is elaborately undercut. 
 
 Size, 32 by 27f inches. 
 
 Formerly in the collection of the late Henry Vaughan, Esq., and bequeathed 
 by him to the Museum. 
 
 Lent by the Victoria and Albert Museum. 
 
 NEROCCIO DI BARTOLOMMEO. 
 
 78 Bust in Stucco. St. John the Baptist. 
 
 In this work, as in his St. Catharine of Alexandria in the Duomo at Siena, 
 Neroccio shows that he was strongly influenced by Jacopo della Quercia. A 
 similar work is attributed to Jacopo himself in the catalogue of the Mostra dell' 
 Antica Arte Senese. 
 
 18 inches high by 17 inches wide. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
EXAMPLES OF THE MINOR ARTS 
 
 CASE A. 
 
 MAIOLICHE, ILLUMINATIONS AND OTHER OBJECTS 
 
 OF ART. 
 
 1 Small Panel. School of Simone Martini. 
 
 St. Mary Magdalene is represented standing in a long red robe lined with 
 blue, and a red dress. She holds in her left hand the alabaster pot of ointment, 
 with her right she lifts the cover. Her fair hair falls over her shoulders. In the 
 arch is a circle with foliations in which is the head of St. Jerome. 
 
 On the reverse is a quatrefoil in the centre of which is a coat of arms, with 
 the initials " C L." above, and " L. C " below. In the arch is the figure of 
 St. Benedict bearing a scourge. Beneath him are the words, " DISCIPLINAM. 
 
 * * * AVDITE FILII." 
 
 Height, I3f inches; width, 4-f inches. 
 
 Lent by Herr von Beckerath. 
 
 2 Albarello. 
 
 The body is adorned with grotesques in blue and yellow on an orange ground, 
 with two medallions in yellow, bearing black arabesques. On the upper part of 
 the body is the inscription " tl . INDI." On the neck is a yellow band adorned with 
 an interlaced pattern. 
 
 The arabesques on the body of this piece recall the decorations of the tiles 
 of the Petrucci palace and of Santa Caterina in Fontebranda. 
 
 Height, I if inches. 
 
 Lent by Wyndham F. Cook, Esq. 
 
 3 Processional Cross of silver, "Sagromata," pierced and gilt with 
 
 applied translucent enamels. 
 
 The limbs of the cross finish in quatrefoils, and at the point of intersection 
 and in the centre of the lower limb are two others. The six quatrefoils are em- 
 bellished by applied plaques of silver enamelled in brilliant greens, grays, gold 
 
Case A] Examples of the Minor Arts of Siena jj 
 
 and blues on a ground of lapis lazuli colour. The centre contains the Agnus Dei- 
 In the quatrefoil at the top is God the Father, in those on either side the Virgin 
 and St. John, and in that at the foot St. Mary Magdalene, and the centre of the 
 lower limb contains a conventional representation of Golgotha. On the five 
 spaces between the quatrefoils are oblong plaques of similar workmanship, three 
 with scrolls and flowers, one with an Evangelist and another with a Franciscan, 
 beneath whom are the letters " M F," probably the initials of the donor or maker. 
 Round the plaques runs an ornamental border of hatching pierced with quatre- 
 foils, through which a foundation of blue enamel is visible. 
 
 The Reverse is similar. In the centre is St. Francis, at the top St. Catherine, 
 and at the sides St. Ambrose and St. Augustine. In the centre of the lower limb 
 is St. Bernardino, and at the foot St. Anthony of Padua. The five oblong plaques 
 between the quatrefoils bear representations of the other three Evangelists and 
 two angels. 
 
 The edge of the cross is embellished by thirteen calix-shaped ornaments 
 containing pear-shaped beads of blue enamel powdered with gold stars, and twenty- 
 four small balls of blue enamel powdered with small gold dots. 
 
 Date about the end of the fifteenth century. 
 
 Height, I5f inches; width, 13 inches. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 4 Two-handled Jar. 
 
 On one side is a decorative treatment of an oak tree. A scroll is entwined 
 about its branches, bearing the legend " MENSIS IN REBUS OPTIMA . . . PLUS . 
 NUS . DICION." On the other side are grotesques and trofei. The ground of the 
 body of the jar is blue, of the shoulder and base green, and of the handles and 
 upper rim yellow. On the base and shoulder is a plait of oak-leaves. 
 
 This jar has many of the characteristics of works of Castel Durante. But the 
 trofei and grotesques on one of the sides resemble, in design, those on some 
 Sienese ambrogette; and the yellow ground of the handles and neck, and the 
 bands of oak leaves, favour the view that it belongs to some Sienese fabbrica. 
 
 Height, I4f inches. 
 
 Lent by Sir C. Hubert H. Parry, Bt. 
 
 5 Diptych of silver-gilt, with enclosing representations of the Adora- 
 tion of the Shepherds and the Adoration of the Magi in 
 translucent enamel. 
 
 The Adoration of the Magi. A composition of thirteen figures. To the left 
 is the Virgin, seated, who supports the Child on her lap with her right hand ; 
 behind is St. Joseph kneeling and supporting himself with a staff. The foremost 
 of the Magi has prostrated himself and salutes the holy Child by kissing his foot. 
 
7» 
 
 Examples of the Minor Arts of Siena [Case A 
 
 Behind him stand the two others, one of whom points to the Star of Bethlehem, 
 the spires of which town are seen in the distance. Behind them again is a group 
 of five attendants. On a hill, in the middle distance on the right, are two others 
 on horseback ; on the other side of the picture is a house. The sky is of blue trans- 
 parent enamel, floated over a diaper pattern engraved in the silver; and the high 
 lights are represented in opaque white and the whole heightened with gold. 
 
 The Adoration of the Shepherds. Composed of six figures. In the foreground 
 the Virgin kneels in adoration of the infant Saviour, her hands crossed on her 
 breast. Behind her St. Joseph, who kneels on one knee, raises his right hand to his 
 head, his left holding a staff. On the other side are two kneeling shepherds, and 
 one who stands supporting himself on his staff, and is depicted with a goitre. 
 In the background is a rocky landscape, with the spires of Bethlehem in the dis- 
 tance. In the foreground are two rabbits. The sky is similar to that in the other 
 plaque, with white clouds and rays of gold. The pattern behind the enamel is 
 chequered. Both plaques are enamelled in brilliant colours, purple, green and 
 orange being the predominating colours. 
 
 The cover of silver-gilt is embellished with plaques of arabesques in flat 
 chasing on a hatched ground. 
 
 Size, 5^ by 4 inches. 
 
 Formerly in the Tollin Collection. 
 
 Lent by J. E. Taylor, Esq. 
 
 6 Bronze Plaque in high relief in the manner of Francesco di 
 
 Georgio. The Scourging of Christ. 
 
 In the centre, Christ bound to the column; his hands behind him; a cloth 
 draped round his loins. Round his waist are cords, the ends of which are held on 
 either side by two of the torturers, one of whom has his right knee pressed against 
 our Lord's thigh to enable him to draw the cords more tightly. Two other 
 assistants, more to the front, have scourges in their hands and are in the act of 
 striking. 
 
 All the figures are modelled with remarkable vigour, and the action is dra- 
 matic. The plaque is inclosed in a fine architectural frame of carved wood. 
 Size of plaque, 1 1 inches wide by 9 inches long. 
 
 Lent by George Salting, Esq. 
 
 7 Belt of Sixteen Plaques and a Fastening with a Ring of Copper- 
 
 gilt. 
 
 Each plaque is \\ by 3 inches, and fastened to rather small lozenge-shaped 
 ornaments of champleve enamel, with representations of birds. 
 
 On the centre of each plaque is a quatrefoil within a square. The quatrefoils 
 
Case A] Examples of the Minor Arts of Siena 
 
 79 
 
 are ornamented alternately with figures of saints in high relief, and applied plaques 
 of champleve enamel, with saints on dark blue ground and borders of green, 
 turquoise and red. 
 
 Late fifteenth century. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 8 Triangular Tile. 
 
 From the original pavement of the Piccolomini Library at Siena. The centre 
 bears a crescent in yellow (the cognisance of the Piccolomini Family) on a blue 
 ground. The border is of two interlaced spirals outlined in blue, on a yellow 
 ground, between which are small circles of Indian red. A similar decoration is 
 seen on Nos. 12 and 14 in this Case. 
 
 Size, 6 inches. 
 
 Lent by R. Langtoti Douglas, Esq. 
 
 9 Triangular Tile. 
 
 This is a portion of the same pavement, and is of the same character as 
 No. 8. 
 
 Lent by Lieut, -Col. Lyons. 
 
 10 Plate, Tondino. 
 
 The centre is decorated with a winged amorino, in blue on a white ground, 
 standing on a heart, in a landscape, and holding in his right hand a scroll. The 
 curve of the plate contains two spirals interlaced and an orange ball between 
 each fold. The border, which is broad, is adorned with grotesques and cornuco- 
 piae in blue on an orange ground. The back has neither ornament nor signature. 
 
 Diameter, g\ inches. 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 11 A Book. Biringucci, Vangoccio : "de la pirotechnia," Stampata in 
 
 Venetia per Venturino Roffinello ad instantia de Curtio Nauo & 
 Fratelli. Del mcccccxl. 
 
 Biringucci was a pupil of Francesco di Giorgio, who devoted himself to 
 engineering and the study of the technical processes of the minor arts. In his 
 " Pirotechnica," amongst other artistic processes, he describes the making of 
 maiolica. The book contains several woodcuts of which one illustrates the 
 potter's art. 
 
 Lent by C. Fairfax Murray, Esq. 
 
8o 
 
 Examples of the Minor Arts of Siena [Case A 
 
 12 Circular Shallow Dish. 
 
 In the centre a shield with the arms of Pius III. (argent on a cross azure ; 
 five crescents or, surmounted by the keys of St. Peter,) and the Papal tiara. 
 The medallion which bears the coat of arms is surrounded by three ornamented 
 bands. The central band is composed of two spirals interlaced with small circles 
 of Indian red between each fold. This band recalls the decoration of the tiles of 
 the Piccolomini Library at Siena. On the inner curve of the dish are twenty-one 
 small depressions, separated by small foliated ornaments of orange and Indian 
 red. On the border is an imbricated pattern of five rows in blue, green, and 
 Indian red. The reverse is decorated all over with roughly-drawn geometrical 
 patterns. In the centre is a mark — a St. Andrew's cross imposed upon a Latin 
 cross, having the appearance of a star with one longer ray. 
 
 Diameter, \6\ inches. 
 
 Lent by J. Pierpont Morgan, Esq. 
 
 13 Medal. Robert Sanseverino and his wife Lucrezia Malavolti of 
 
 Siena. Bronze. 
 
 Bust of Roberto di Sanseverino to the right, long hair and high cap. 
 That of Lucrezia to the left; hair curled at sides, and in high dress and 
 necklace round throat. 
 
 Inscription: " ROBERTVS SANSEVERINVS. ARMOR DVCTOR. LVCRETIA 
 
 senensis • eivs conivnx." 
 Reverse. 
 
 Hercules slaying the Centaur who is carrying off Deianira. In the back- 
 ground is a river god. 
 
 On February 17, 1473, Roberto Sanseverino, Count of Caiazzo, the famous 
 condottiere, married Lucrezia d'Agnolo Malavolti of Siena. 
 
 Diameter, 3! inches, 
 
 Lent by Selwyn Brinton, Esq 
 
 14 Statuette of the Virgin and Child in Gilt Bronze. 
 
 The Virgin supporting the Child with her left hand, holds a bouquet of 
 flowers in her right, is clothed in a long robe which falls in ample folds about her 
 feet. This piece, although obviously executed after the death of Jacopo della 
 Quercia, reveals the direct influence of his works, inspired by one of the large 
 symbolical figures that stood on either side of the Fonte Gaja. 
 
 The pedestal, which is of later date, has in the front an interesting figure of 
 St. John the Baptist bearing in his left hand the Agnus Dei. 
 
 Height of figure 6i inches. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
Case A] Examples of the Minor Arts of Siena 
 
 81 
 
 15 Miniature on Vellum. The Letter M cut from a Missal. 
 
 In this miniature is represented the Last Judgement. Inclosed in the scroll- 
 work above are representations of a Franciscan Friar on the left and an Evangelist 
 on the right. In the centre is Christ seated on a Mandorla. On his right is the Virgin 
 in half figure, on his left St. John. In the centre below is a throne on which rests 
 "The Word"; on either side are angels sounding horns. Below to the left is 
 an angel, reading from a scroll, summoning the blessed, who are seen below 
 him in half-figure; on the right is another angel, who drives away the damned. 
 Below the throne in the centre kneel Enoch and Elias, representing the old dis- 
 pensation. The background is blue, powered with stars in the centre, and decor- 
 ated with scroll work on the outside. 
 
 This letter was painted under direct Byzantine influence in the first half of 
 the thirteenth century. 
 
 It appears to be by the same hand as the illuminations in a Bible belonging 
 to the Commune of Montalcino. 
 
 Size, 11^ by 8i inches. 
 
 Lent by Herr von Becker ath. 
 
 16 Processional Cross of Copper. 
 
 The limbs of the cross terminate in trefoils, and are engraved with quatrefoil 
 medallions with representations of saints. At the top is St. Stephen, on the 
 right the Virgin, and on the left St. John ; at the foot St. Gregory. 
 
 The faces of the limbs are engraved with the outline of a cross, a nimbus, and 
 a label. The figure of the Christ, which is of earlier date than the cross, is hollow, 
 and affixed by nails to the cross; it has a cloth which hangs in straight folds round 
 the loins. 
 
 The Reverse also has a figure of the Christ, but engraved. It also has 
 medallions at the terminations of the limbs. In the medallion at the top is 
 St. Peter; in that at the foot, St. Paul; in that on the right the Prophet Isaiah 
 bearing a scroll on which is the legend, " VERE LANGORES NOSTROS IPSE," and in 
 that on the left Jeremiah, with the legend, " METAMVM LINGNIVM IN PANE." 
 
 The whole was originally gilt. Traces of the gilding may yet be seen. 
 
 Cross, early fifteenth century. Figure of the Christ, twelfth century. 
 
 Height, 13 inches, width, io|- inches. 
 
 Lent by Sir T. Gibson Carmichael, Bt. 
 
 17 Circular Plaque in Copper. The Annunciation. 
 
 The Virgin in long robe and veil has her right hand raised and carries a book 
 in her left. The Dove descends from clouds above. The angel, his right hand 
 
 L 
 
Examples of the Minor Arts of Siena [Case A 
 
 raised, bears a scroll in his left, on which is " AVE . MARIA . GRA." Between the 
 Virgin and the angel stands a vase of lilies, and in the background are nine con- 
 ventional roses. Underneath the figures is a dragon. Small fragments of enamel 
 are still to be seen, the whole having been originally enamelled and gilt. 
 
 Early fourteenth century. 
 
 Diameter, 2f inches. 
 
 Lent by Sir T. Gibson Carmichael, Bt. 
 
 Medallion of Pope Alexander VII. Bronze. 
 
 Bust to the left, moustaches and small beard, wearing the triple tiara and 
 pontificial vestments. 
 
 Inscription: "ALEX . VII . PONT . MAX . A . Vlll . 1662." 
 
 Reverse. View of the Piazzo del Popolo with the obelisk of Sixtus V., and 
 the Churches of Santa Maria dei Miracoli and Santa Maria di Monte Santo, with 
 many figures in the foreground. Struck in commemoration of the rebuilding of 
 the two churches on identical plans by Monsignor Gastaldi, Treasurer to Alexander 
 VII. in 1662. 
 
 Inscription: "SAPIENTIA IN PLATEIS DAT VOCEM SVAM . MDCLXII." 
 Diameter, 2f inches. 
 
 Lent by the Victoria and Albert Museum. 
 
CASE B. 
 
 MAIOLICHE, EXAMPLES OF GOLDSMITH'S WORK, 
 TAVOLETTE, AND MEDALS. 
 
 Plate "A Porcellan." 
 
 In the centre is the figure of St. Jerome in profile, seated on a ledge of rock, 
 and clad in a tunic, with bare legs. In his right hand he holds a skull. He is lost 
 in meditation. The picture is not in a medallion but is framed in interlaced 
 ornament, suggestive of oriental influence. The white border is adorned with a 
 narrow band of foliated decoration. 
 
 On the back is a cartellino bearing the inscription : " FATA IN SIENA DA M° 
 BENEDETTO." Date, 1515- 1520. 
 
 Maestro Benedetto di Giorgio of Faenza settled in Siena about the year 
 1503. In the years 1518, 15 19 and 1520, he made large quantities of artistic 
 wares for the hospital of Siena. The last documentary mention of him is of the 
 year 1522. 
 
 Diameter, g\ inches. 
 
 Lent by the Victoria and Albert Museum. 
 
 Albarello. 
 
 The body is decorated with grotesques and trophies on an orange ground. 
 Above is a label bearing the inscription " SPODIO DOSSO." 
 Height, g\ inches. 
 
 Lent by George Salting, Esq. 
 
 Morse, translucent enamel on silver, in a foliated frame-work of 
 copper gilt. 
 
 The Annunciation. The Virgin is seated in a Gothic loggia, the Angel 
 Gabriel kneels as he utters the salutation. 
 Diameter, 2\ inches. 
 
 Lent by the Victoria and Albert Museum. 
 
 Morse (Companion to the above). 
 
 Representing a legend in the life of St. Galgano. 
 
 S. Galgano lived in the twelfth century. Guided by St. Michael he went 
 into the wilderness. When prevented by the devil from hewing wood to make a 
 
84 
 
 Examples of the Minor Arts of Siena [Case B 
 
 cross, the young knight struck his sword into the hard rock, which became as 
 wax to receive it, and harder than adamant to retain it. On the spot where this 
 miracle happened the knight made a hermitage. The sword on the rock stood 
 near it for a cross. 
 
 Both this morse and its fellow are identical in treatment, and probably at 
 one time belonged to the treasury of the Abbey of St. Galgano, which was known 
 from documentary evidence to have been very rich in goldsmith's work. 
 
 Diameter, 2\ inches. 
 
 Lent by J. H. Fitzhenry, Esq. 
 
 5 Albarello. 
 
 Round the neck and shoulder run bands of foliated ornament, below which 
 is a label bearing the inscription "SEME DI NIGIELLA." The body is decorated in 
 grotesques, crabs and vases, in blue, yellow and green on an orange ground. 
 Underneath is incised "lb: 3." 
 
 Height, 9^ inches. 
 
 Lent by George Salting, Esq. 
 
 6 Plate " A Porcellan." A " Coppa Amatoria." 
 
 In the centre is a medallion bearing an amorino, who carries in his left hand 
 a staff and in his right a scroll with the legend "VIRTU . RlCOLfi FAMA CHI . SEMI." 
 
 In the band round the medallion is a pattern of Hispano-Moresque origin, 
 such as was used by Maestro Benedetto. 
 
 On the border are four medallions, in two of which are coats of arms, in 
 another trofei, and in another three rabbits. Between the medallions, and 
 attached to them, is interlaced work, which again recalls Maestro Benedetto's 
 signed plate; and the fine, porcelain-like quality is another characteristic of his 
 fabbrica. In the border, between the medallions and interlaced work, are details 
 of ornament imitated from the decorations of Chinese porcelain. 
 
 On the back is a pattern in blue, but no mark or signature. 
 
 Diameter, g\ inches. 
 
 Lent by George Salting, Esq. 
 
 7 Cross. "Sagromata." 
 
 This cross is of silver, in part gilt, on wood, and is decorated with applied 
 translucent enamels. 
 
Case B] Examples of the Minor Arts of Siena 
 
 85 
 
 The limbs of the cross finish in quatrefoils. 
 
 On one side, on the upper limb, is Christ the Word. His right hand is 
 raised in blessing, his left holding a book which is supported by his knee. 
 
 In the limb on the left is the Virgin, in the arm on the right St. John the 
 Evangelist. 
 
 Below is a representation of St. Francis receiving the Stigmata. 
 
 In each of the quatrefoils at the extremities are open panels for relics sur- 
 rounded by angels and cherubs in enamel. 
 
 On the reverse in the upper part is a bishop, a saint, perhaps one of the 
 protectors of Siena, such as S. Savino. On the left arm is St. Thomas Aquinas, 
 on the right one of the fathers of the church. On the limb below is St. Catherine 
 of Siena. 
 
 This cross cannot be of an earlier date than the year 1461, the date of 
 St. Catherine's canonization. It is, perhaps, by Francesco d'Antonio. 
 Height, 1 inches, width, 12 inches. 
 
 Lent by George Salting, Esq. 
 
 9 Medal. View of the fountain of Santa Maria in Trastevere 
 (restored by Alexander VII.) . 
 
 Inscription, " NOBILIVS PER TE SITVS FLVAM INEXHAVSTVS." 
 On a tablet fastened to the back is the inscription : 
 
 " S. P. Q. R. 
 
 commvni plavsv statvam in capitolio decrevit 
 modestissimvs princeps recvsavit 
 dominicvs jacobativs romanvs 
 pvblicis impar monvmentis 
 beneficiorvm in religionem in patriam 
 et in seipsvm memor 
 nvmisma ex aere argento avro jam conflatvm 
 his tandem chartis aere perennioribvs commisvm 
 observantissimvs consecravit anno 
 qvo sollicitvdinis pontificiae 
 votorvm aervmnarvm aeris 
 magno par pretio redempta 
 Manabat De CaeLo paX." 
 
 The medals in this case (Nos. 9 and 10, and 14 and 15) are, perhaps, out of 
 place in an exhibition of Sienese art. They are shown as representations of a 
 great Sienese, who was a patron of the art of his native city. 
 
 Size of medallion, 3f inches. 
 
 Size of frame, f\ inches. 
 
 Lent by the Victoria and Albert Museum. 
 
Examples of the Minor Arts of Siena [Case B 
 
 Medal. Alexander VII. P.O.M. Bronze. 
 
 Fabio Chigi, scion of an illustrious house. Born at Siena, February 13th, 
 1599. Vice Legate at Ferrara, Papal Nuncio at Cologne, made Cardinal, February 
 29th, 1652, elected Pope, April 7th, 1655; died May 22nd 1667, having occupied 
 the papal throne twelve years all but fourteen days. 
 
 Bust to the right in full pontificals, wearing moustaches and imperial ; right 
 hand raised in the act of benediction. 
 
 Inscription: "ALEXANDER VII. P. M PIVS IVSTVS • OPT • SENEN • PATR 
 GENT CHISIVS MDCLXIII." 
 
 On a tablet fastened to the back is the inscription: 
 
 "VRBE A PESTE EXPVRGATA 
 VIIS PLATEIS SALIENTIBVS AEDIFICIIS TEMPLISQ. EXORNATA 
 REI FRVMENTARIAE COPIA IN ANNONAE CARITATE CVMVLATA 
 A BELLORVM PERICVLIS TERRA MARIQ. PRAESIDIIS CONFIRMATA 
 VENETIS CONTRA TVRCAS MILITE CLASSE ARGENTO SAEPIVS ROBORATIS 
 SOCIETATE IESV IN EORVM DITIONEM RESTITVTA 
 SVECIA REGINA ROMANAM PROFESSA FIDEM POMPA TRIVMPHALI EXCEPTA 
 PROBATIS P.P. INTEGRAE VIRTVTIS CENSV AD PVRPVRAM DILECTIS 
 TRIPLICI PORTICV VATICANAE AREAE CIRCVMDVCTA 
 PETRI CATHEDRA PONTIFICALI DECORE IAM NOBILITATA. 
 
 S. P. Q. R." 
 
 Lent by the Victoria and Albert Museum. 
 
 Deep-sunk Plate. 
 
 In the centre is a Cupid seated on a snail, playing on a pipe. Outside the 
 central medallion is a band of bianco sopra bianco. 
 
 On the border of the plate are four oval medallions surrounded by garlands 
 in blue and white. In one is the phoenix, in another a pelican in her piety, in 
 another a heart pierced by arrow, and in the fourth a heart with the label "AMOR." 
 Between these are cornucopiae and winged dolphins on an orange ground. On the 
 back is a gadroon ornament in blue and orange. 
 
 This piece is by the same artist that painted the series of plates adorned 
 with figures of saints, and signed " I. P." The points of resemblance are very 
 marked. In the landscape we note the pale sky dotted here and there with small, 
 fleecy clouds. Round the medallion is a band of bianco sopra bianco; the border 
 also has an orange ground. Yet more striking is the resemblance in technique: 
 every detail is finely finished; the glaze is thin, of the purest quality, and evenly 
 distributed. 
 
 Diameter, 8|- inches. 
 
 Lent by the Victoria and Albert Museum. 
 
Case B] Examples of the Minor Arts of Siena 
 
 12 Two-Handled Pharmacy Jar. 
 
 Dark blue ornament on white ground. On each side in a foliated gothic 
 frame is the badge of the Hospital S. Maria della Scala of Siena: around the 
 frame are oak-leaves. On the neck are bands of conventional ornament. 
 
 In the existing books of the Hospital are entries showing that the authorities 
 were wont to order large quantities of artistic ware year by year. 
 
 Height, \2\ inches. 
 
 Lent by the Victoria and Albert Museum. 
 
 13 Plate. Tondino. 
 
 In the centre is St. Mary Magdalen, three-quarter figure; She has no cover- 
 ing but her hair; Her hands are in the attitude of prayer; there is a cherub on 
 either side of her. The background is yellow crossed by orange rays. Outside the 
 medallion is a band of bianco sopra bianco. On the border of the plate is a broad 
 orange band decorated with grotesques in blue. 
 
 On the back is a geometrical pattern in blue and orange, and the signature 
 " I. P." in black. 
 
 This plate belongs to a series, and perhaps formed part of a service made for 
 some great ecclesiastical personage. Of this series four examples are known. 
 One of these, on which is the figure of St. James the Greater, is in this exhibition. 
 Another, which bears a representation of St. Bartholomew, is at the British 
 Museum; another, on which is a picture of St. Lucia, was in the Marryat collection. 
 In the Introduction are given the reasons for regarding this series as of Sienese 
 origin. 
 
 Diameter, 9 inches. 
 
 Lent by George Salting, Esq. 
 
 14 Medal. Scene in the Arena. 
 
 The slave Androcles. The lion, recognizing him, licks his feet. 
 
 Inscription: " MVNIFICO • PRINCIPI DOMINICVS IACOBATIVS." Underneath 
 on a scroll, " ET FERA MEMOR BENFICII." 
 
 At the back is a tablet bearing the same inscription as is to be found at the 
 back of No. 9. 
 
 Size of medallion, 3f inches. 
 
 Size of frame, 7^ inches. 
 
 Lent by the Victoria and Albert Museum. 
 
 15 Medal. Pope Alexander VII. See Nos. 9 and 10. Bronze. 
 
 Inscription : " ALEXANDER VII • P " M ' PIVS* IVSTVS OPT' SENEN PATR - GENTE 
 CHISIVS" MDCLIX." 
 
88 
 
 Examples of the Minor Arts of Siena [Case B 
 
 Bust to the left, wearing a cap, moustache and imperial, cloak with hood and 
 gown edged with needlework (the camail). 
 
 On a tablet fastened to the back is the same inscription as is at the back of 
 No. 10. 
 
 Lent by the Victoria and Albert Museum. 
 
 16 Small Processional Cross, " Sagromata " of Silver parcel-gilt, with 
 
 plaques of enamel applied. 
 
 At the point of intersection, and at the end of the limbs of the Cross, are 
 quatrefoils of silver-gilt, containing plaques of blue translucent enamel. On these 
 plaques are representations of Christ (in the centre), and the four Evangelists (on 
 the quatrefoils at the extremities). Between the quatrefoils are applied plaques 
 of silver chased with representations of a pietd, St. Catherine of Siena, St. Anthony 
 of Padua, and St. Clare. 
 
 The Reverse is similar; with the Agnus Dei in the centre (behind the 
 Christ), and the symbols of the Evangelists (on the reverse of their representa- 
 tions). Between these are four oblong plaques of silver chased with St. John, St. 
 Ambrose, St. Bernardino and St. Francis of Assisi. 
 
 The edge of the Cross is embellished by thirteen calix-shaped ornaments of 
 silver-gilt, within which are small balls of blue enamel. 
 
 Height, I of by 8^ inches. 
 
 Lent by George Salting, Esq. 
 
 17 and 21. Two Panels of a Diptych. 
 
 The face of the left-hand panel (No. 17) is adorned with three paintings. In 
 the Arch is a representation of Christ in Glory in a Mandorla. Below is a 
 representation of the mocking: Christ is seated, and is surrounded by Pharisees 
 and Roman soldiers. At the bottom is a Deposition; St. Joseph of Arimathaea is 
 lowering the body from the Cross, on the left kneel the three Maries, on the right 
 stands St. John and another saint. Each of these three pictures has a gold ground 
 and a red border, and is protected by crystal. On the flat border of the frame, on 
 a gesso ground, is a scroll-work in red surrounding and connecting seven small 
 sockets formerly containing jewels. 
 
 In the right-hand panel (No. 21) are also three pictures. In the uppermost is 
 a representation of Pentecost, in the centre is the Scourging, and at the bottom is 
 an Entombment. On the flat border of the frame is a decoration similar to that on 
 the left-hand panel, the scroll-work being in blue. 
 
 The paintings in this Diptych closely resemble in style those in Sienese missals 
 of the early part of the thirteenth century. 
 
 Size, 9 inches by 5 inches. 
 
 Lent by the Victoria and Albert Museum. 
 
Case B] Examples of the Minor Arts of Siena 
 
 8 9 
 
 18 Tavoletta di Biccherna. 
 
 A wooden panel which once formed a part of the book-cover of one of the 
 account books in the Treasury of the Republic at Siena. The upper portion is 
 painted in tempera with a representation of a municipal treasury; two men behind 
 a counter are paying out money to a man in the right-hand corner of the picture. 
 Beneath is the following inscription in Gothic characters: " QUESTO . E LIBRO . 
 DEL ENTRATA.E DEL ESCITA . DELA BICHERNA . DEL COMUNE . DI SIENA . AL 
 TEPO . DE SAVI . HUOMINI . GIOVANNI . DANBROGIO . CHASINI . MISSERE . BIAGIO . 
 DI MISSERE. GRANELLO . E ANDREA. NICHOLE . CNOIAIO . GIOVANNI . DI CIECHO . 
 ARZZOCCHI . LANDO . NICHOLUCCI . SPEZZIALE . CHAMARLENGO . E QUATRO . 
 DELLA . BICHERNA . DA CHALENDE . LULGLIO . MILLE .TRESCIENTO . CINQU ANTA . 
 E SETE . AL GIENAIO . ANNO . DETTO . E MINOCCIO . DI GIOVANNI . ALDROBRAN- 
 DINI . LORO . USCHRITORE." 
 
 The painting and legend are surrounded by gilt borders with impressed 
 leaves. 
 
 This panel and the two which follow (Nos. 19 and 20) belong to a series of 
 painted book covers which were used to bind the official account-books of the 
 Biccherna to the Siena Exchequer. A number of them are preserved in the 
 Archivio at Siena. 
 
 Size, 14 x 1 of inches. Dated 1357 (1358 common style). 
 
 Lent by the Victoria and Albert Museum. 
 
 ig Tavoletta di Biccherna. 
 
 A wooden panel which once formed part of the cover of one of the account 
 books in the Treasury of the Republic at Siena ; painted in tempera, with a repre- 
 sentation of the interior of the office of a Biccherna, surmounted by the Balzana. 
 Two men behind a counter are paying out money to three others. The cover is 
 divided in the middle by a band of six shields bearing coats of arms in colours 
 on an ornamental gold ground. Beneath is the following inscription in Gothic 
 characters: "QUESTO. E ILIBRO . DEL ENTRATA.E DEL USCITA . DELLA . GIEN- 
 ARAL BICHERNA. DEL COMUNO . DI SIENA . AL TEMPO . DI SAVII . HUOMINI . 
 NICHOLO.DI LONARDO . DEL AGACLE . CAMARLENGO E DI . GIACOPO . DI.TOMASSO. 
 PETRUCCI . E DI . BENUCCIO . DI . LUCA . DI PALMIER . SPADAIO . E DI IACOMO . 
 DANBRUOGIO . BRICII . LANAIUOLO . DI . TATO DI . FRANCIESHO . TALOMEI . CAM- 
 ARLENGHO . E . QUATTRO . DELLA . DETTA . BICHERNA . KALENDE . GIENAIO . 
 M.CCCC.I . PSIMO . AD ULTIMO . DI GIUGNO M.CCCC.II. E . DI . MIS . DI RICCHO . 
 VBETINI . LORO . SCRITORE." 
 
 The painting, shields of arms and legend are surrounded by gilt borders 
 composed of impressed rows of circles. 
 
 This Tavoletta has suffered considerable restoration. 
 
 Size, 17 x I2f inches. Dated 140 1-2. 
 
 Lent by the Victoria and Albert Museum. 
 M 
 
9° 
 
 Examples of the Minor Arts of Siena [Case B 
 
 20 Tavoletta di Biccherna. 
 
 A wooden panel, formerly a part of the cover of one of the books of the 
 Sienese Treasury, painted in tempera. Frate Meo, a Cistercian, of the Umiliati 
 of Siena, in the white gown and hood of his order, is seated at a table counting 
 money; the lower half is occupied by an inscription in fine Lombardic characters. 
 At each corner is a metal boss, and in the middle is a leathern hinge-band decor- 
 ated with a graceful floral pattern in white on a red ground. The inscription 
 reads as follows : 
 
 " LIBER . DI . FRATE . MEO . DELI UMILIATI . CHAMARLENGO . DI BICHERNA . 
 P'LI . PRIMI . SEI . MESI . CIOE . IN KAL GENAIO . ANNI . CCC.VIIII . IN FINO . IN KAL . 
 LULLIO . ANNI . CCC . X . A ASIGIORIA . DI MISERE . GUIDO . DA TRIPLI . PODESTA . 
 DI SIENA." 
 
 This Tavoletta resembles the others of the same period in the Archivio at 
 Siena. 
 
 Size, I si * 9i inches. Dated 1 310. 
 
 Lent by the Victoria and Albert Museum. 
 
 22 Plate. Tondino. 
 
 In the central medallion is a figure of St. James the Great, clad in a brown 
 tunic, edged with yellow ; a blue cloak is loosely thrown round his left shoulder ; 
 he carries a book in his right hand; on his feet are sandals. In the landscape, 
 which forms the background of the picture, are strong traces of Umbrian influence. 
 This painting is framed with a narrow border, formed of small green circlets with 
 an orange and yellow centre, joined by an orange band. 
 
 On the border of the plate is a broad band of orange decorated with grotesques 
 in blue. On the inside of this band is a narrow ribbon of bianco sopra bianco. On 
 its outside, and bordering upon the yellow rim of the plate is a belt of pearls. 
 
 The back is decorated with an imbricated pattern in orange. In the centre 
 of each scale is a dot in blue. The plate is signed " I. P." in black. 
 
 This plate is of the same series as No. 13. 
 
 Diameter, iof inches. 
 
 Lent by the Victoria and Albert Museum. 
 
CASE C. 
 
 MEDALS BY PASTORINO PASTORINI 
 1508— 1592. 
 
 {The measurements are given in millimetres.') 
 
 1 Bust of a Young Woman. Bronze. 
 
 Head to right; hair plaited and fastened with ribbon, necklace with pendant; 
 low dress. Signed".?." 
 Size "36. 
 
 Lent by Max Rosenheim, Esq. 
 
 2 Alessandro Battista Guarini. Bronze. 
 
 Secretary to Hercules II., Fourth Duke of Ferrara. 
 
 Bust to right; hair cut short, and full beard; large fur collar to robe, showing 
 inner linen collar with embroidered edge. 
 
 Inscription: "ALEXAN 1 BAPTISTAE GVARINVS 1 5 56 ' P '." 
 Size "67. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 3 Bona Sforza. Lead. 
 
 Queen of Sigismund I. of Poland. Born 1500, Married 15 18, died 
 1558. 
 
 Bust to left, with veil over hair, and high collar. 
 Inscription: " BONA SFOR ' DE ARAG ' REG ' POL 1 5 56 ' P '." 
 Size *54. 
 
 Lent by Max Rosenheim, Esq. 
 
 4 Count Alessandro Fiaschi. Lead. 
 
 Native of Ferrara, Jurist. 
 
 Head to right; wavy hair and pointed beard. 
 Inscription: " ALEXANDER. FLASCVS. /EQVES." "P." 
 Size '41. 
 
 Lent by Max Rosenheim, Esq. 
 
9 2 
 
 Examples of the Minor Arts of Siena [Case C 
 
 5 Pompeo Pendalia. Bronze. 
 
 Head to the right; slightly bald, but with ample beard, in furred gown. 
 
 Inscription: "POMP ■ PENDALEA ANN 1 NACTVS LXXIIIM ' DLX. 'P\" 
 
 Reverse. Two palm branches with a scroll, on which are the words 
 " DOMINE IN TE SPERAVI." Above are clouds, from which hail falls, on either side 
 are cherubs representing the winds. 
 
 Inscription: " IVSTVS. VT PALMA FLOREBIT." 
 
 Size 71. 
 
 Lent by Max Rosenheim, Esq. 
 
 6 Lucrezia d'Este. Bronze. 
 Wife of Francesco Maria della Rovere, Duke of Urbino. 
 
 Bust to right; hair turned back off forehead and in plaits at back, on which 
 are jewels. Dress opening in front with turned down collar, earrings and neck- 
 lace with pendants. 
 
 Inscription: " LVCRETIA ESTENSIS ' A " A ' XVII . P." 
 
 Size "42. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 7 Giovanni Maria Salizin. Bronze. 
 
 Bust to right, thick short hair and beard. Tunic embroidered and slashed, 
 and embroidered collar turned down. 
 
 Inscription: " GIOVAN MARIA SALIZIN . P." 
 Size '68. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 8 Giulia della Rovere. Lead. 
 Wife of Alfonso d'Este, Marquis of Montecchio. Married 1549 
 died 1563. 
 
 Bust to left; hair drawn off forehead, curled at side, plaited at back, with 
 band of jewels over top of head; wearing earrings and high dress, over which are 
 two necklaces. 
 
 Inscription: " IVLIA FELTRIA DE RVERE ESTEN . P." 
 
 Size -57. 
 
 Lent by the Victoria and Albert Museum. 
 
Case C] 
 
 Examples oj the Minor Arts of Siena 
 
 93 
 
 9 Francesco d'Este, Marquis of Massa. Lead. 
 Third son of Alfonso ist Duke of Ferrara and Lucrezia Borgia. 
 Born 1516, died 1578. 
 
 Bust to the right; hair cut short and pointed beard. Ornamental armour 
 and small ruff round the neck. 
 
 Inscription : " FRANC . ESTEN . MARCH . MASS^ .1554. P." 
 Size "39. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 10 Francesco de' Medici. Bronze. 
 Born 1 541, became Grand Duke of Tuscany in 1574, died 1587. 
 
 Bust to right as a young man; head uncovered with hair cut short; orna- 
 mental armour with collar showing and turned down at throat, chain and 
 pendant formed as lion's head; cloak over armour fastened with jewel on right 
 shoulder. 
 
 Inscription : " FRANCISCVS MEDICES . F . PRINCEP . 1 560 . P." 
 Size '67. 
 
 Lent by the Victoria and Albert Museum. 
 
 11 Hieronima Farnese of San Vitali. Lead. 
 
 Bust to right ; hair falling in small curls over forehead, the top of head 
 covered with a veil which falls in folds on to the shoulders; earrings and necklace, 
 with pendant; dress opening low in front. 
 
 P 
 
 Inscription: "HIERONIMA FARNESIA D. S. VITALI. 1556." 
 Size "65. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 12 The same. Bronze. 
 Size "65. 
 
 Lent by George Salting, Esq. 
 
 13 Alexander Bonzano. Born 1484. Bronze. 
 
 Bust to right ; thick hair and short beard, robe edged with fur. 
 Inscription: " ALEX . bonzan . A . A . lxv . 1553 . P." 
 Size "52. 
 
94 
 
 Examples of the Minor Arts of Siena [Case C 
 
 Reverse: 
 
 Cecilia Bonzano. Bronze. 
 Second Wife of above. 
 
 Bust to the right ; hair turned off forehead in a roll, the head covered with a 
 veil which falls on the shoulders ; high dress and small frill round the neck. 
 
 Inscription: " CECILIA . CONS . II . ALEX . B. 1554." 
 
 Size "52. 
 Shown in Reverse. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 14 Hieronima Sacrata. Bronze. 
 
 Bust to right, with hair drawn back from forehead and banded with strings 
 of pearls, earrings, and dress open at throat, high collar. 
 Inscription: " HIERONIMA SACRATA M'D'LV. P." 
 Size 70. 
 
 Lent by George Salting, Esq. 
 
 15 Lucrezia de' Medici. Lead. 
 First wife of Alfonso II., Duke of Ferrara. Born 1 541, married 
 1558, died 1561. 
 
 Bust to left, hair turned back off forehead with small curls at side and 
 plaited at back, a band of jewels passing over the top of head. Wearing earrings. 
 Dress with high collar turned down at sides, open in front, showing necklace and 
 pendant. A chain with pendant outside the dress. 
 
 Inscription: " Lvcretia . med . Ferr . Princ . a . a. xni . P. 1558." 
 
 Reverse: an emblematical female figure, with right hand holding book and 
 left upraised to catch some butterflies; in the foreground musical instruments, 
 sundial, hour-glass, etc. 
 
 Inscription: "NEC TEMPVS. NEC yETAS." 
 
 Size '66. 
 
 Lent by Victoria and Albert Museum. 
 
 16 Eleanor of Austria. Lead. 
 Wife of Guglielmo I., Duke of Mantua, born 1538, died 1594. 
 
 Bust to the left, with jewelled cap, and hair in a net. Elaborately jewelled 
 dress, and high collar with ruff. 
 
 Inscription: "LEONORA DVCISSA MANTV^E. 1561 . P." 
 Size 70. 
 
 Lent by Max Rosenheim, Esq. 
 
Case C] Examples of the Minor Arts of Siena 95 
 
 17 Ludovico Ariosto. Silver. 
 Poet, son of Nicolo, Captain of the Citadel of Reggio; born at 
 Reggio 1474, died 1533. Author of "Orlando Furioso," etc. 
 
 Bust to the left, crowned with wreath of laurel, long hair and short beard. 
 
 Inscription: " LVDOVICUS . ARIOSTVS . POET." 
 
 Reverse : a hive, with swarm of bees, the base enveloped in flames. 
 
 Inscription on reverse: "PRO . BONO . MALVM." 
 
 Size -38. 
 
 Lent by Max Rosenheim, Esq. 
 
 18 The same. Bronze. 
 Showing reverse. 
 
 Signed " P." 
 Size -38. 
 
 Lent by Max Rosenheim, Esq. 
 
 19 Isabella Manfro de' Pepoli. Lead. 
 
 Bust to the right : hair curled over forehead, and plaited at back with jewels 
 and a fringed veil falling behind and caught up by jewel on shoulder; earrings, 
 necklace, and pendant, and a second jewel suspended by a cord. Dress falling 
 in broad folds and jewelled on arms. 
 
 Inscription: "ISABELLA . MANFRO DE PEPOLI. 1 57 1. P." 
 
 Size , 66. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 20 Leonora d'Este. Lead. 
 
 Born 1537, died 1 581. 
 
 Bust to left; hair turned off forehead, elaborately plaited and tied with 
 ribbon, earrings, worked dress and high collar turned back at the neck and show- 
 ing pendant jewel. 
 
 Inscription: " ELE0N0RA ESTENSIS . A . A . XV. P." 
 
 Size 40. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 21 Aurelia Tolomei. Lead. 
 
 Wife of Silvius Piccolomini, Lord of Sticciano. 
 
 Bust to left, hair flat on top and twisted in circle behind, high dress. 
 Inscription " . D. avrelia tolomei .P." 
 Size -36. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
9 6 
 
 Examples of the Minor Arts of Siena [Case C 
 
 22 Camillo Castiglione. Bronze. 
 
 Nobleman at the court of Francesco Gonzaga, and was at one time 
 in the service of Charles V. Son of Baldassare Castiglione, the cele- 
 brated author of " II Cortegiano." 
 
 Bust to the right, hair short and small beard, ornamental armour, and small 
 ruff round neck. Inscription "CAMILLVS DE CASTILIONE. BAL. F 1 561. P." 
 Size 70. 
 
 Lent by Max Rosenheim, Esq. 
 
 23 Cardinal d'Armagnac. Lead. 
 
 George d'Armagnac. Born 1501, made Cardinal 1544, died 1583. 
 
 Bust to the right wearing biretta, hair slighty wavy, and pointed beard. 
 The collar of tunic turned over, embroidery on the robe. 
 Inscription "GEOR. CAR. ARMAIGNACIVS. 1 5 54- 
 Size "40. 
 
 Lent by T. Whitcoinbe Greene, Esq. 
 
 24 Hippolito d'este, Cardinal of Ferrara. Bronze. 
 
 Born 1509, died 1572. 
 
 Bust to the right wearing biretta, wavy hair and short beard. 
 Inscription "HIPP. EST. II. CARD. FERR. 1554. P." 
 
 Reverse. A man and three women sacrificing before the Temple of Janus. 
 Size '40. 
 
 Lent by T. Whitcoinbe Greene, Esq. 
 
 25 Ludovica, Felicina Rossi. Lead. 
 
 Bust to left, hair drawn off forehead, with plaits at back. Earrings, neck- 
 lace and pendant, dress opening low, and puffed sleeves. 
 
 Inscription "LVDOVICA. FELICINA ROSCIA BONONIEN. 1 572." 
 Size -52. 
 
 Lent by Max Rosenheim, Esq. 
 
 26 Mary of Portugal. Lead. 
 Wife of Alexander Farnese, 3rd Duke of Parma. 
 Bust to the left, hair with jewels and elaborately dressed. Dress braided, with 
 high collar, puffed sleeves, necklace and pendant. 
 
 Inscription "MARIA DE PORTVGALLO. P. ET. P. PRI 1 566." 
 Size '55. 
 
 Lent by T. Whitcoinbe Greene, Esq. 
 
Case C] Examples of the Minor Arts of Siena 
 
 97 
 
 27 Luigi d'Este. Bronze. 
 
 Bust to the left, hair thick and wavy, wearing armour, and small ruff round 
 neck. 
 
 Inscription " ALOYSIVS. ESTENSIS. P." 
 Size "40. 
 
 Lent by T. Whitcovibe Greene, Esq. 
 
 28 Alfonso d'Este, 5TH Duke of Ferrara. Bronze. 
 
 Bust to left, thick hair cut close, in armour, with pendant suspended by ribbon. 
 Inscription " ALFON. ESTEN. FERR. PRIN." 
 Size -38. 
 
 Lent by T. Whitcombe Greene, Esq. 
 
 N 
 
CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
33. C69 
 
GETTY CENTER LIBRARY MAIN 
 
 ND 621 S4 B961 1904 BKS 
 c - 1 Burlington Fine Arts 
 
 Exhibition of pictures of the school of 
 
 3 3125 00244 4467