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VISITOR’S

GUIDE TO SIENA

AND

SAN GIMIGN-ANO.

' 119 "“i—r f7"

BY

J. L. BEVIR, MA.

“I¢0i ci traenno a la citta di Siena,

La quale é posta in parte forte e sana,
Di legiadria e bei costumi plena,

I» vaghe donng e buonfiniiwlted

E l’aex dpleeflucida serena?f3

LONDON: '
EDWARD STANFORD, 55, CHARING CROSS, S.W.

1885.

 

 

PREFACE.

H the course of sundry prolonged visits to Siena,
{inding that there existed no accurate or full
guide book, I jetted down for my own amuse-
timent some notes on the principal objects of
"nterest. Having lent these from time to time
“0 visitors to Siena, I am now at their request ‘
jv‘publishing them in a larger form with some
3 additions.

1 The art of Siena is so essentially its own, and
loan be studied there so entirely, that I have
it (thought fit to enter at some length into its pecu-
Ulliar features. \Vith this view I have inserted a
L short account of its painters, gathered from various

books in the Sienese Library; and have devoted
{02501118 space to the frescoes in the Palazzo Pubblico
’ and the niello work of the Cathedral pavement,

in each case giving in full the legends there to

267916

vi PREFACE.

be found, as they afford a special insight into the)
spirit which inspired the work. )

I have appended a full account of San Gimi—f
gnano and Monte Olivetto as places which are,
directly connected with the history of Sicnese art”
and from their position are naturally visited from;
Siena.

WELLINGTON COLLEGE,

(l

J. L. BEVIR, M.A. i

I

\

December 1884. \i
l

l

CONTENTS.

CHAPTER I.

TISTORY OF THE TOWN

CHAPTER II.

IENESE PAINTERS

CHAPTER III.

'ALAzzo PI‘BBLICO ..

CHAPTER 1V.

SHE CATHEDRAL

CHAPTER V.

THE CATHEDRAL SQUARE ..

CHAPTER VI.

:‘ASTEL VECCHIO T0 ST. CHRISTOPHER

CHAPTER VII.

5T. FRANCIS AND ST. BERNARDINO ..

PAGE

21

44

64

94

101

116

xi

viii CONTENTS.

CHAPTER VIII.

AGE

Sr. CATHERINE AND ST. DOMENIO .. .. .. I‘131
CHAPTER IX.

GATES AND NEIGHBOURHOOD .. .. .. .. 164
CHAPTER X.

SAN GIMIGNANO .. .. .. .. .. .. 191

INDEX.. .. .. .. 4. .. .. .. 229

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VISITOR’S.

“GUIDE TO SIENA

AND

SAN GIMIGNANO.

 

 

BY THE SAME AUTHOR.

Small Post 8120, cloth, Price Three Shillings.

 

VISITOR’S GUIDE
TO

ORVIETO.

Edward Stanford, 55, Charing Cross, London, S.W.

THE

 

VISITORS GUIDE TO SIENA.

CHAPTER I.

HOTELS :—Grand Hotel di Siena, in the Via
Cavour, fronting the public promenade, With
good views. Rooms from 3—5 lire; table d’hote,
5 lire; cost of living per diem from 15—20 lire.

Aquila Nora, in the centre of the town, a little
gloomy. Rooms from 2—3 lire; dinner a la carte
or prix fixe.

INNS of an Italian kind :—

Tre Mari, near the station.

Scala, Via Diacetto, omnibus at the station.
Rooms 1—2 lire, with good cuisine.

Tm Donzelle, in a side street of that name
leading out of the Via Ricasoli.

RESTAURANT z—La Minerva, in the Via del Re,
near the Piazza Tolomei ; not very inviting.

PENSIONS :~—Signor Francesco Tognazzi, in the
Palazzo Bandini Piccolomini, Via Sallustio
Bandini 19. Very well situated, with rooms

B

v t
,.I: ' I I
I .‘c '
. ..
‘ I

. . : '- ‘ -"""e'z‘/.'IDE T0 SIENA.
commanding a good view over the country;
price per diem 5—6 lire.
Pension Giusarelli, near San Domenico.
POST OFFICE :—In the Via Cavour, at the si lie
of the little Piazza in the Palazzo Spanocchi.
Caries 2—Cate Greco, near the Piazza del
Campo. Coffee 20 cents.
Cafe della Posta, near the post. Coffee 15 cents.
PHOTOGRAPHER :——1’aolo Lombardi, in Via
Cavour, opposite entrance to the Piazza.

The traveller who approaches Siena by train
may be at first a little disappointed, as he arrives
Without getting any idea of the position of the
town, or the picturesqneness of its walks. The
gate by which the town is entered from the
station has been destroyed, and its place filled by
iron railings, and the road up shows him more
modern buildings than he will find elsewhere in
the town. All the chief objects of interest are
mentioned in detail in this little book, and it is
here merely necessary to make one or two general
remarks. Very nearly every house is interesting,
and has a history of its own, which may partly be
read in the many alterations that may be seen
in the facades, the original windows having been
Gothic, and then altered in almost every variety
of manner to suit the fancy of the occupants from
time to time. On many one may notice an IHS

ORIGIN OF SIENA. 3

surrounded by a glory. This dates from the time
of San Bernardino, who always held in his hand a
tablet with the first letters of the name of Jesus
on; it, and suggested it to the Sienese as a form of
decoration to the house, carrying with it special
Divine protection. On other of the houses will be
seen plaques in glazed terra—cotta, with the effigy
or emblem of some saint to whom the house has
been dedicated. These exist particularly in the
narrower streets of the town, but the rationalizing
tendency of the age is, in many cases, replacing
them with tickets of fire insurance.

There is little reason for supposing Siena to be
of Etruscan origin, for in its immediate neigh-
bourhood but few remains of that period have
been found, and it is impossible to affix any
definite date to its foundation. One tradition
ascribed it to a certain Senio, said to have
been the son of Remus, whence the Sienese have
as a badge the she-wolf suckling twins. Another
makes it a settlement of theGalli Senones, who
came to Italy with Brennus; but whatever may
have been its origin, there is no historical allu-
sion to the town before the consulship of Curius
Dentatus, when Livy mentions Sena as one of
the places to which colonies were sent. From
this time forward until the year 800 A.D., when
Charlemagne reckoned it among the free towns
of Tuscany, but little is heard of it, and the only

B 2

4 GUIDE TO SIENA.

recorded facts are that in Julius Caesar’s time it
received the name of Sena Julia, that it was con-
verted to Christianity by St. Ansano who suffered
martyrdom in 303, and that after enduring
the ravages of the several barbaric hordes that
found their way into Italy it submitted to the
rule of the Lombard kings until that dynasty fell
before Charlemagne. The interest of the town is
iiiedimval, not antique, a medinevalism which has
remained crystallised even up to this century.
Its history is interesting, as a record of preco-
cious development and great promise, rendered
fruitless by its own internal quarrels, its rivalry
with Florence, and the calamitous pestilenees
which visited it. Time would not allow of a
detailed account of its struggles, and all that is
intended to be done here is to give a rapid
survey of its history, lingering over one or two
events which give a particular insight into the
life of the Sienese.

From the ninth century onwards it began to
extend its frontier, and by annexing to itself
surrounding towns appeared as a dangerous rival
of Florence, which brought about the battle of
Montemaggio in 845 A.D., a conflict which ended
in favour of the Sienese. From this time forward
for more than two centuries they did not meet
each other directly in the field, but in 1082 they
again encountered at San Salvadore a Selva, on

sm UGGLES WITH FLORENCE. 5

the site where the Convent of Lecceto now stands.
In the following century a new feature was intro-
duced into Italian politics. The two powerful
northern families of Guelf and Ghibelline, having
quarrelled over some unimportant matter (tra-
dition says over the speed of a greyhound),
declared eternal enmity with one another, and
divided the whole of Italy. The Guelfs applied
for help from the Pope, and the Ghibellines from
the Emperor, and so above and beyond the many
internal feuds in the various cities there was
always one party ready to support the Pope while
the other was devoted to the imperial pretensions.
Siena, though Dante and others have given her
the reputation for fickleness, was more constant
than most other free towns in her political his-
tory, and rendered. much efficient service to the
Emperor in many a field of battle.

During the early part of the thirteenth century
it enjoyed special privileges from the Emperor
Frederic the Second, and was occupied in hard
fighting with the Guelf Florence, round Mont-
alcino and Montepulciano, and so important was
she to the Emperor, that during the life of
'Frederic she was able to dwell secure. But on
his death politics again became an open question,
and the Guelfs availed themselves of the oppor- ,
' tunity to exile those of the other party. So com-
plete was the change, that in a year Siena and

6 GUIDE TO SIENA.

Pisa were left alone in Tuscany as supporters of
the imperial cause. Florence in particular made
a display of her Guelfism by exiling all the
Ghibellines who, under Farinata degli Uberti,
sought for shelter in Siena. rl‘he Government
received them, but felt that in so doing they
were accepting a gage from the Florentines,
and sent straightway to Manfred, the successor
of Frederic, to implore his assistance. His reply
in words was courteous and promising, but in
deed he merely sent 100 mounted Germans with
his banner. These, however, were enough for
Fariuata, who at the time was managing the
military affairs of the town, for when the Floren-
tines appeared, to take vengeance on Siena for
giving shelter to her exiles, he sent out these
hundred Germans against them, and then omitted
to support them. The fury of their charge was
such that for some time the Florentines recoiled

before them, but finally when their actual number

was discovered, they were out in pieces, and the
imperial banner taken to Florence, and draggled
in the mud. As" Farinata had anticipated Man-
fred was furious, and at once sent 800 German
cavalry under his cousin Giordano.

The Sienese were now anxious to have an open
engagement with the F lorentines, but these had
been so roughly handled, despite their ultimate

'victory, that they were not for the time being

BATTLE OF MONIAPERTO. 7

inclined to make trial of arms again. Farinata,
therefore, had recourse to deceit. He sent two
spies to Florence disguised as monks, who told
the Florentine Government that the Sienese were
tired of the rule of Provenzano Salvani, and that
if the Guelfs only appeared in sufi‘icient force the
gates of the town would be opened to them. The
Florentines believed them, and having gathered
as large a force as possible from friendly towns,
brought out the Carroccio, or great car with
flags and bell, which served as a rallying point in
battle, and encamped at Cortine some seven miles
from the city to await the opening of the gates.
This was on Sept. 2, 1260, and two days later
followed the great battle of Montaperto—

Lo strazio e il grande scempio
Che face 1’ arbia colorata di rosso.

It was the first life-and death struggle that
Siena had with Florence, and one will do well to
forget for the moment the wider cause of Guelf
and Ghibelline, and listen to an account of the
battle written by the Sienese chronicler, who
saw in it merely the averting of the destruction
of his own town.

After waiting for some short time for the
opening of the gates of the town, the Floren-
tines grew impatient and sent two ambassadors
to offer their terms. They found the twenty-

8 GUIDE TO SIENA.

four governors of the town sitting in council in
the little Church of St. Christopher, and without
respect for time or place, and without observ-
ing the courtesies usual on such occasions, they
presented themselves to the Council and curtly
stated their captain’s terms, which ran as
follows :—

“ It is our will that this city be undone, and
that its walls be cast to the ground, so that we
may enter it and leave it at our pleasure. It is
further our will to place a Seignory in every
Third of the City, and to build a fort on Campo
Beggio which may serve as a guarantee of the
safety of our Seignory at Florence. \Ve await
your answer; should these demands not seem
good to you, expect our army and no pity.”

To which the twenty-four made reply, “ Go ye
back to those ye came from, and tell them we
will give our answer by word of mouth.”

The ambassador departed, and the Council
having thus hurled defiance at the foe, proceeded
to consider ways and means. In the first place
Messer Jordan the commander of the German
troops was sent for, and he like a true soldier
of fortune demanded an exorbitant price for the
services of his troops; so great indeed was it
that the town would not have been able to secure
their services but for the generosity of Salimbene
Salimbeni. This done they proceeded to the

BA TTLE 0F MONTAPER T0. 9

election of a Syndic, and Buonaguida Lucari, a
man of unimpeachable life and great religious
fervour, was chosen. As soon as the election was
proclaimed, Messer Lucari issued from the church
and thus addressed the people in the square
outside—

“ Sirs, ye know that we have commended our-
selves unto the Emperor Manfred; and it now
seemeth good to me that we should present our-
selves, our goods, our city, and our lands unto
the Queen of Life Eternal, our Lady the Virgin
Mary. All ye who are pure in faith and will
follow me.”

This said, he stripped himself to his shirt,
and baring his feet proceeded to the Cathedral,
followed by the people, also barefooted, crying
“ Misericordia.” When they arrived at the Duomo
the Bishop left singing of the Te Deum, and came
down the church to Buonaguida, and taking him
by the hand, the two proceeded together to the
high altar, where they formally offered the city
to the Virgin and implored her aid against their
foes. .Thc prayer ended, the Bishop ascended
the pulpit, and in a short sermon incited the
people to unity, imploring each to forgive what
he had against his neighbour, to confess, and to
receive the Sacrament. He then descended, and
put himself at the head of the procession, Which
went round to the different gates of the town to

10 GUIDE TO SIENA.

collect the keys, which after a benediction from
the Bishop were laid up in the Church of St.
Christopher.

That night was spent in confession; and on the
following day the men prepared for battle, each
under the banner of his own section, while the
women and priests kept a solemn fast and interces-
sion. In the evening the army issued forth in three
sections, clad respectively in white, red and green,
and took up a position on the Poggio di Ropoli
opposite to the Florentines. As the first division
arrived, the Florentine captain said, “ Who would
have thought that these poor fools had so many
men; but what I wonder at is that they should
come out against such an army as ours.” But he
changed his opinion on being told that was only
one section of the army, and a little later happen-
ing to ask the name of the two streams on the
right and the left of the camp, he was told the
Malena and the Biena. Hereon he determined to
strike his camp and withdraw, for it had been pro-
phecied to him he should meet his death “ ’twixt
the good and bad” (fra ’l bene e ’1 male); but
since it was then late he gave orders for the army
to retire on the following morning. The army
were quite ready to do so; in the first place they
felt they had been deceived about the betrayal of
Siena, and then their minds had been much
worked on by a white mist which hung over the

BATTLE OF MONTAPER T0. 11

Sienese camp, which shone out brightly with the
reflection of the watch-fires, and seemed to be the
mantle of the Virgin come down to protect the
Sienese. At daybreak the Florentines began to
move their camp, whereon the Sienese attacked
at. once, and in a short time were engaged all
along the line. The din was terrible, the Sienese
rushed on shouting “ A la morte,” and this, added
to the clash of arms and the tolling of the
Martinella or big hell on the Carroccio, made so
much noise that, says the chronicler, “had there
been a thunderstorm at the time, no one would
have noticed it.” All throughout the battle the
scene inside the city was wildly exciting. At
the foot of the Marascotti tower were assembled
the women and priests kneeling, while aloft stood
Cerreto Ceccilini watching the battle. From
time to time he beat his drum and cried to those
below, “ N 0w our men are climbing the hill; now
they are hand to hand with the enemy; pray God
that he have mercy ” ; or again, “ The battle rageth
fiercer still, our men seem to be in straits; pray
ye to God, pray ye to God.”

But this did not last long, for the sun began to
rise, and shone into the eyes of the F lorentines,
dazzling them, and just at this moment the Count
Arasi, who had been in ambush with a picked
band of men, swept furiously on the F lorentines
from the rear, Spreading confusion and dismay

12 GUIDE TO SIENA.

This was the beginning of the end, the Floren-
tines everywhere began to yield, and Cerreto,
beating a loud roll upon his drum, shouted to
those below, “Now are the Florentines in rout;
now do they flee,” and one loud shout of thanks-
giving rose from the kneeling multitude. The
fighting was not all over round the Carroccio,
the soldiers still held out fiercely, man after man
taking his turn to ring the Martinella as his
fellow was cut down; but elsewhere all was
rout and confusion. The Sienesc rushed wildly
on the fugitives, and though many threw down
their arms and said “ I surrender,” it was of no
avail, for, says the grim chronicler, “they were
not understood,” and in some parts of the field of
battle the blood ran ankle deep. \V hen the arms
of the Sienese began to tire, they bethought
them of mercy, and finally the number of pri-
soners for whom ransom was paid was twice as
many as the dead left upon the field.

Thus Siena was saved, and a severe blow struck
at the cause of the Guelfs, but the effects of the
battle were not very lasting. To begin with, the
panic-stricken Guelfs fled from every town to
Lucca, but ere long Charles of Anjou appeared as
a supporter of the Pope, and in 1265 came the
battle of Benevento, where the Ghibellines were
defeated, and Manfred’s body, after being hawked
about the field of battle on an ass, was cast forth

CHANGE OF GO VERNMENT. 13

and forbidden decent burial as excommunicated.
This was followed three years later by Tagliacozzo,
which brought the cruel beheading of young
Conrad. These battles did not influence Siena so
directly as one at Colle di Val d’Elsa in 1269,
where‘ their great captain Provenzano Salvani*
met his death, and the Guelfs entered Siena
welcomed by the cringing populace, who to show
their loyalty hounded out the Ghibellines.

One now reaches an important change in
internal government, if indeed these centuries of
anarchy and confusion allow the use of such a
name; originally the administration was in the
hands of consuls elected annually, but this had
been changed, in 1199, for a podesta selected from
some other town. The change which followed
the arrival of the Guelfs was one which withdrew
the power from the nobles and from the people
likewise, and entrusted it to nine selected from
the bourgeois class, thereby beginning a govern-
ment of universal corruption, which nevertheless
fostered the growth of art though it ultimately
left the people so servile and abandoned that at
the close of two centuries they were willing to
accept any form of rule, even that of a tyrant.
Pandolfo Petrucci was the first to grasp the fact
that they would be ruled by anyone who had

* The Florentine Dante puts him in Purgatory, “ perche per
presuntuoso a recar Siena tutta alle sue mane.”

14 GUIDE TO SIENA.

sufficient power, and finding himself in exile,
collected a body of troops, took the town by
surprise, and made himself master of it, and after
reorganising the government in accordance with
his own fancy, distributed offices and property to
his own creatures. He ruled the city with a firm
hand for twenty-five years, and died peaceably at
San Quirico 011 May 21, 1512. He left behind
him a name execrated by the Sienese, but though
many of his probable rivals fell under the dagger
of the bravo, the condition of the common people
was much happier than in the turbulent time
of the government of the Noveschi. He was
succeeded by two of his sons and a nephew.
These, though people of more virtue, lacked
the political ability of Pandolfo, and died deaths
which they had less deserved than their pre-
decessor. With them ended the dynasty of the
Petrucci, but Siena was too demoralised to return
to a settled form of government, and the Popes
did all in their power to foster internal dissen-
sions in hopes that they might thereby get hold
of this Ghibelline city, which had always opposed
them. This was not to be for the moment, but
the end was not far off. In 1530, Florence fell
before Charles V., and the short-sighted Siena, in
her joy at the humiliation of her old rival, sent
artillery to assist the Emperor; nor did she per-
ceive till too late that it was a more extended

I

SPANIABDS IN SIENA. 15

empire that Charles was aiming at under the
patronage of the Popes. Weakened as she was
she would not yield without a struggle, and the
records of her last brave defence make one forget
the many centuries of folly which reduced her.
The person employed to get possession of Siena
was Don Diego Urtado di Mendozza, a general
who had learned the subtleties of intrigue as a
monk in a convent in Spain. With words of
conciliation and flattery he entered the town as
an emissary of Charles, and the vanity of the
Sienese was so far affected thereby, that they
welcomed him with unmeasured rejoicings and
celebrated his arrival both in prose and verse.
Don Diego worked slowly; by a judicious course
of bribery he won over to himself many of the
most important citizens, and those who opposed
him were removed by poison, or else on some
fictitious charge by the axe of the executioner.
He next took the occasion of some slight street
disturbance to express his feelings of insecurity,
and thereon surrounded himself with a large
Spanish guard. He then felt strong enough to
act, and issued an order for the general disarm-
ing of the people, and for the destruction of all
the towers of the palaces, which in those days
amounted to over two hundred, and with the
materials thus obtained began a fort upon the
hill of San Prospero, on the site where the Lizza

16 GUIDE TO SIENA.

now is. The Sienese were slow in making any
movement, but when they saw a fort beginning to
be built which would command their town, they
sent ambassadors to Charles to implore him to
respect their liberties; but the only answer they
obtained was, “ Vogliamo cosi e sia fatta 1a nostra
volonta.” Thereupon they applied to Pope Julius,
whom they knew had no slight influence on
Charles, and whom they expected would speak on
their behalf in that his mother was Sienesc, but he,
either fearing to thwart Charlcs’s plans, or having
some unknown cause of satisfaction in the misfor-
tunes of his town, sent the sardonic reply, “ Che
se non bastava a sua‘ macsta crusarca fare in
Siena un castello solo per fermare quai cervelli
inquieti ve ne facesse per due” (“If one castle
did not suffice his imperial majesty to keep within
bounds these hair-brained Siencse, he might build
two ”). Upon hearing this the Sienesc determined
to take matters into their own hands, and set to
work to mature plans for the overthrow of the
Spaniards. By July 27, 1552, all was ready, and
the citizens rose en masse, and after three days’ hard
fighting from street to street and house to house,
drove the surviving Spaniards humiliated from
the town and razed Don Diego’s fortress to the
ground. Their time of rejoicing was but short,
for the powers they had thus evoked were too
strong for them. The wrath of Charles knew no

LAST STR UGGLE WITH FL ORENCE. 17

bounds, he swore to wash out the stain of this
defeat with the blood of the citizens of this
republican town, and in 1553 sent the blood-
thirsty Don Grazzia to punish the Sienese, but
this army received an unexpected check by the
dogged resistance ofier‘ed by the little town of
Montalcino which held out for eighty days, and
then the sudden appearance of Turkish galleys
in the southern Italian seas called Don Grazzia
to Naples, and Siena escaped for the time being.
Charles was in difficulties, he had not enough
money to carry on his attack on Siena and
conduct a war in the Netherlands, but it was
important for him that the Italian town should
be reduced as the French were assisting them,
and he therefore readily accepted the offer of
Cosimo di Medici to carry on the war with his
own resources. Cosimo selected as generalissimo
Giovanni Giacomo Medicino, Marquis of Marig—
nano, a man of low origin who had distinguished
himself in many wars, gradually raising himself
till he was the most celebrated condottiere in
Italy. He then claimed to be an offspring of
the Medici, a piece of vanity Cosimo was pre-
-pared to flatter in consideration of his great use-
fulness. The general selected by the Opposite
side was Pietro Strozzi, a Florentine, who
had lived in exile in France for the greater
part of his life, as his father had taken part
0

18 GUIDE TO 5mm.

in a conspiracy against the Medici. This selec-
tion was in some ways unfortunate, for on the
one hand his keenness for revenge led him to do
injudicious acts, and on the other Cosimo, find-v
ing his mortal foe ranged against him, strained
every nerve to raise a sufficient army to over-
whelm him. Strozzi’s true policy would have
been to keep the Florentine army in check until
want of supplies should have forced it to retire,
but eager to take summary vengeance on his
enemies, and wishing to free Siena from a state
of siege, he led his army out intending to make
an attack on Florence. Medieino heard of it and
marched down the vale of Chiana to encounter
him. The two armies met at Marciano on
August 3, 1554, and a battle was straightway
fought. The Sienese began to get the best of it,
and were driving back the Spaniards and Floren-
tines when the leader of the French cavalry
suddenly fled, taking his men with him, having
been bought over by the general on the other
side; Strozzi did not lose heart but continued
to cheer on the Sienese, who fought bravely to
the end, even women performing great acts of
prowess; as the old song says——

Meglio (lei vili cavalli di Franza.
Le nostre donne fecero provanza.

But it was all in vain, the battle of Seannagallo

FALL 01" SIENA. 19

Was lost, and the Sienese returned disheartened
into the town leaving some 12,000 dead and
wounded on the field. From this time forward
the town of Siena was strictly invested, but its
fortifications were too strong to yield to attack, and
the only definite advantage Cosimo gained was
the destruction of the suburb between the two
Camollia gates. The war was conducted with
the greatest cruelty, the Florentines took some
fifteen hundred peasants who were busy supply-
ing food to Siena and hung them on the trees
around the town. Within, the scenes were al-
most more miserable, hospitals and churches
were full of wounded, while many lay dying in
the streets and squares. All were hopeless and
desponding, but yet continued the defence with
vigour. Public supplications were made to the
Madonna della Grazia, in whose interference even
now the Sienese have full belief. The women
formed themselves into brigades to defend the
walls, the natural vanity not deserting them even
in their last extremity, for each battery had its
own colour; but what was the saddest feature
of all was the periodical opening of the gates
‘and turning out of the “useless mouths,” all
those who from age, sickness, or general weak-
ness could not contribute to the defence of the
city. These wretches wandered forth either to
meet death at the hands of the enemy or to fall
0 2

20 a UIDE T0 SIENA.

a prey to the beasts which the universal carnage
had gathered round the town. Thus life went on
until the new year, which dawned on pale ema-
ciated figures, blasted with famine and pestilence.
Thoughts of making peace were entertained,
and ambassadors sent to the Marquis of Marig-
nano to know his terms. He demanded surrender
at discretion, terms which the Sienese received
with yells of horror, and the wasted ghostly
soldiers returned to their guard upon the ram-
parts. By April only (3000 inhabitants remained
out of the 32,000 at the beginning of the war, and
these so reduced that they accepted the rather
more favourable terms of the Florentines. Thus
Siena fell in 1555, and 700 of the families that
remained, thinking “ carlum non animum mutant,”
retired to Montalcino, abandoning the city to
the stranger. For a short time it belonged ex-
clusively to Philip of Spain, the husband of our
English Mary; but he soon tired of it, and
handed it over to Cosimo di Medici, who built
the great fort of St. Barbara to ensure his
holding it.

From this time forth it followed the destiny
of the Duchy of Tuscany, until the year 1859,‘
when the spirit of liberty again waking in Italy
it proclaimed itself part of the United Kingdom
under the royal house of Savoy.

(21)

CHAPTER II.
SIENESE PAINTERS.

THERE is one great benefit which the Sienese
school enjoys, and that is that nearly all the chief
pictures painted by its artists are to be found in
Siena itself, or in the immediate neighbourhood,
so that the traveller may study fully its rise,
development and decline. There are preserved
in the archives, lists of artists’ names from an
early date in the thirteenth century, but there
will not be space here to mention any but the
chief ones. The history of Sienese painting
divides itself naturally into three parts. The first
period ranges from the middle of the thirteenth
‘ century up to the beginning of the sixteenth,
during which time the vanity of the Sienese
induced them to abide by a law which forbade
foreign artists to establish a school in Siena. The
second period dates from the beginning of the
sixteenth century to the sacking of the town in
1555, and contains all the best artists. This was
owing to Francesco Piccolomini and Pandolfo
Petrucci inviting foreign artists, Signorelli, Pin-

22 GUIDE TO SIENA.

turicchio and others, to come to Siena. The third
period dates from 1560, a period of decline.

First Period.

As in Florence Cimabue is selected as the
founder of the Renaissance school, so in Siena it
is the custom to begin from Guido, or Guidone di
Ghezzo. Nothing is known of his personal life,
and even the date of his painting is uncertain.
Some would place him at the beginning of the
century, considering the date 1221 in San Dome-
nico to be genuine, but Milanesi and the majority
of the critics place him later, supposing the origi-
nal date to have been 1281. Beyond the pictures
in San Domenico, two in the Belle Arti, and a
doubtful fresco in the Campansi, nothing is left
of his works. He is a painter of the Byzantine
school about on a par with Magaritone d’Arezzo.
His figures are stilt, and his colouring dull; yet
one may discern traces of a new life.

Dacez'o (di Bino) clelia Buoninsegna comes
next, as generally compared with Giotto. He was
born in 1260, and his works cease after 1320.
His great work was the double picture which was
solemnly carried to the cathedral in 1310; his~
minor works may be seen in the Opera and the
Belle Arti, there is one also in London. He
shows a great advance on Guide in form and
beauty. Some of his heads are exquisite, more-

n

THE MEMMI. 20

over he is more natural in composition, but his
drapery is stiff, and he cannot draw hands and
feet. Some works of a pupil of his, Segvna dz'
Buonaventum may be seen in the Belle Arti.
Next come two artists who may be taken
together, Simone Martini, who is often mistakenly
called Simone Memmi, and Lippo Memmi.
Simone ZlIartz'ni was the elder of the two, and
was born in 1284. He married Giovanna, daugh-
ter of Memmi di Filipuccio, and was thus brother-
in-law of Lippo. He was an artist of great fame.
Petrarch addresses two sonnets to him, and in one
of his letters he says,“ I have known two painters,
talented both and excellent. Giotto of Florence,
whose name among moderns is great, and Simone
of Siena.” The earliest record of his painting is
in 1320, and in the two following years he was
employed in the Palazzo Pubblico and St. Chris-
topher. His big fresco of the Virgin surrounded
by the tutelary saints of the town, shows the
faults of transferring miniature work to a large
work without sufficiently attending to composi-
tion. The fresco which faces it, Guidoriccio on
horseback, shows Simone at his best; there is a
spirit and naturalism about it which many later
painters do not attain to. This work dates from
1328, and after this Simone wandered about,
occasionally returning to his native town. He
painted at Pisa, Orvieto and Assisi, where many

24 GUIDE TO 5mm.

of his works'may be seen, especially in the lower
church. There seems little doubt that he painted
at Florence, though later criticism has denied
him any share in the Spanish chapel at Santa
Maria Novella. In 1338 he removed to Avignon.
Some say he was sent thither by Pandolfo
Malatesta to paint a portrait of Petrarch ; at any
rate he remained there in close friendship with
him till he died, 1344. '

Lippo Memmz', his brother-in-law, worked in the
same studio with him and finished several of his
works. Lippo was the son of a goldsmith, Mei
Mini di Filipuccio, the first two names being con-
tracted into Memmi. At San Gimignano he has
painted an exact counterpart of Simone’s picture
in the Palazzo at Siena; his other frescoes may
be seen at Orvieto, while at Siena one may study
his panel pictures. He died in 1357.

There is an artist, Maestro Mina, who evidently
belongs to this family; he was the master of
Giacomo d7} Mina di Pelliciaio, the architect who
designed the facade of the Baptistery, and the
painter of some lovely Madonnas.

Then follows another pair of painters Pietro and_
Ambrogz'o Lorenzetti, in whom Sienese art showed
the greatest promise; the date of their birth is
unknown, both died in the plague, 1348. Pietro
was the elder, and is known to have been working
with Simone Martini in 1305. He lived in Castel

THE LORENZETTI. 25

Vecchio, and married Giovanna di Mino. He is
the more vigorous and realistic of the two
brothers, but has a tendency to degenerate into
repulsive ugliness. His best works may be seen
in the lower church at Assisi, the Pieve d’Arezzo
and the Campo Santo of Pisa, where the Hermits
and the Last Judgment are now commonly
attributed to him. In Siena his frescoes may
he studied, in San Francesco, San Lorenzo in
Lago (?), and his panels in the Sacristy of the
Cathedral, the Opera, and the Belle Arti.

His brother Ambrogio was a person of more
exquisite tastes, and is described as being “ more
of a philosopher and a gentleman, than an artist.”
This delicacy and refinement manifest themselves
in his works. His are the splendid frescoes in the
Sala della Pace, painted from 1337 to 1339, and
two more at least in San Francesco. He also
painted in monochrome, as may be seen at Asciano.
Many of his panel pictures painted on gold back-
grounds are very fine, especially an Annunciation
in the Belle Arti, where he has reached a beauty
and purity of conception never surpassed. I know
but two in this period of painting that compare
with it, one by Spinello at Arezzo, and another
by a pupil of Giotto in San Giovanale at Orvieto.

The Vanni family have given countless artists
of different kinds to Siena; two painters belong
to this period :—‘

26 GUIDE TO SIENA.

Lippo Vanni, president of the artist’s guild in
1360 and 1373, of whom there remains nothing
but a little piece of fresco in the Cloisters of San
Domenico, 1372, and a Chiaroscuro in the Sala del
Mappamondo, and Andrea Vanni, who was born
somewhere in the middle of the fourteenth
century, and lived on into the next, being rector
of the Opera in 1414. From 1406 to 1413 he
was employed in the Palazzo Pubblico, but now
none of his work remains beyond the likeness of
St. Catherine in San Domenico.

Next come the Bartoli.

Bartolo dd Maestro Fredi, born in 1330, married
Bartolo Mea di Cecco in 1357, was president of
the artists’ guild in 1372, died 1407. His chief
frescoes are in the church at San Gimignano, and
show all the harshness and crudity of the early
Sienese school to an exaggerated extent; his
panel pictures abound.

Taddeo dd Bartolo (di Maestro Mino, and not- a
son of the last as has been erroneously supposed)
was born about 1362, and his earliest known
pictures are at Pisa, where he was employed from
1390—1397. From 1401—1406 he was painting
at Perugia, San Gimignano, and Montepulciano,
Where a magnificent Ancona of his is preserved.
During the rest of his life he worked at Siena. He
is seen at his best in his frescoes of the life of the
Virgin in the Palazzo Pubblico, which shows him

THE VANNI AND BARTOLI. 27

to have been by far the best colourist of his age,
and to have been animated with great fervour
and originality, though one may look in vain for
much beauty in his faces. In 1393 he married a
Genoese lady, Simona del Monte, and died in 1422.

Domenico dd Bartolo der Asciano, who according
to Vasari and Milanesi was a nephew of Taddeo,
was a cumbrous and laborious painter to whom

“e due the frescoes in the Hospital of La Scala.

To return to the fourteenth century, Berna or
Barna of Siena, of whose life little is known
beyond the fact that he met his death by falling
from a scaffold in 1381. He painted at Siena,
Cortona, Arezzo, and in the Lateran in Rome, but
his chief work was the history of Christ in the
Pieve at San Gimignano. These frescoes have
been badly retouched, and hence it is hard to
judge of their real merits, but they show a
struggle between the natural and conventional,
and one is particularly struck by the vigour of his
horses. These frescoes were finished by his pupil
Giovanni d’Ascz'ano,who followed his master closely,
though he perhaps shows rather more develop-
ment in his frescoes in San Francesco at Asciano.

Luca T/zom‘e was either a pupil of Berna or of
Memmi. Little is known of him, except that he
lived in San Pellegrino, and began painting in
1355; few of his works remain, a fresco of a
Crucifixion at Pisa, painted in 1366, and another

28 GUIDE TO SIENA.

in the Dragomanni chapel at Arezzo; a Virgin
and Child with St. Anna in the Belle Arti, and
some saints in the sacristy of San Francesco are
the chief.

Paolo di Giovanni, who sometimes signs
himself PAULUs IOIIANNIS FEI, was known
to have painted from 1372—1410. Some of his
works may be seen in the Belle Arti, but mostly
show a want of proportion in the drawing. He
was the master of Giovanni di Paolo, who was
enrolled in the artists’ guild in 1428; the first
recorded date of his painting is in 1447, his
larger pictures are muoh like those of his con-
temporaries, but he has left one little picture
of the Judgment, and the Inferno and Paradise,
which is very perfect, and will compare with
Fra Angelico’s at Florence. He married late in
life in 1480, and left no issue, and thus he was
not the father of Matteo di Giovanni, though
probably he instructed him. He died in 1502.

Stefano di Giovanni, commonly known as
Sassetta, died in 1450. In arrangement of
drapery he has advanced on some of the older
masters, but otherwise he is intolerably stiff. He
was the master of Sana di Pietro, one of the most
prolific painters, and a very typical Sienese, who
has expressed more religious devotion in his
pictures than any other. Determined to depart
from the conventional almond eyes, he often

IL VEC’CHIETTA. 29

makes them very round and staring. He prac-
tised the art of miniature, and has painted many
of his smaller pictures with the fineness of missal
painting; his angel faces are very sweet. He
was born in 1406, and died in 1481. His best
fresco is the Coronation of the Virgin, in the
Palazzo Pubblico, a very good composition. His
panel pictures abound, and form one of the chief
features of the Belle Arti, though they are by no
means confined to it. His colouring is bright and
vivid, but so many of his pictures have been in
part repainted, that many would attribute to him
crude harsh blues which were never his.

Gregorio, the only date extant 1418 ; there is a
fresco of his in the Servi, and a picture in the
Opera del Duomo. He is one of the painters who
at the beginning of the fifteenth century still
clung to the style of the beginning of the pre-
v10us one.

Lorenzo dd Pietro, commonly known as Il
Veochz'etta, a name according to some given
him on account of the feeble and decrepit appear-
ance of his figures. He was born in 1412 and
died in 1480, being twice married. He had
a varied genius, being a painter, sculptor, and
caster in bronze, in which last capacity, perhaps,
he was most successful. As a painter, he made
no advance on the traditions of his time, though
occasionally he produces a pleasing picture, as in

3O GUIDE TO SIENA.

the Assumption of the Virgin at Pienza. His
frescoes are rare, the figures on the roof of the
Baptistery, and one in the hospital being all that
I know of.

Francesco dz' Giorgio Martini, painter, architect
and sculptor, was born in 1439, and was a pupil
of Vecchietta; in 1469 he married Agnes di An-
tonio di Benedetto. In 1485 and 1493 he held
high civil appointments, and from the documents
was busily employed up till 1502, when presuma-
bly he died. He devoted more time to engineer-
ing and architecture than to painting; but he
leaves a pleasant impression of his powers as an
artist, though his ideas of composition are deci-
dedly original. His colour dill'ers in tone from
those of his contemporaries. He also studied
under Guaspm'ro (Z’Agostino, who painted in the
Baptistery, and was a fellow pupil of Neroccz'o (lz'
Bartolomeo Lanclz', 1137—1503.

Benoenuto dz' Giovanni llIaeT, thought by some
to have been a pupil of Giovanni di Paolo.
In his faces and composition he is like Matteo
di Giovanni, but his colouring is different,
always being subdued with a prevalence of brown
tints. His best picture is in Cappella delle Volte,
in San Domenico. He died about 1510. His son
and pupil Girolamo dz' Benvenuto followed his
father closely in the tone of his colouring, but in
composition and execution was bolder, producing

MA TTEO DI GIOVANNI. 31

an effect not unlike Andrea Mantegna, see the
two pictures in the Belle Arti. He dates from
1475—1524. There are traces in the landscape
of his work having been modified by the Umbrian
school.

Matteo dz' Giovanni, the son of Giovanni di
Bartolo, a family that moved to Siena from
Borgo San Sepolcro, generally thought to have
been born in 1—135. Documents show him to have
been painting from 1457-1484; he died in 1495.
He is generally condemned as being behind his
Florentine contemporaries, and it is true that
many of his figures are stiff and unnatural, with
very high waists, but there is an ineffable charm
about his faces, especially those of children and
angels, witness the Madonna della N eve, and the
Assumption of the Virgin at Munistero. His use
of gold in the robes gives great richness to his
pictures, and his perspective is decidedly better
than that of his contemporaries. He painted a
Massacre of the Innocents at Naples, which was
so much admired that he was tempted to repeat
it with horrible variations, producing most won—
derful compositions. Eastlake speaks of the face
of Herod as “successfully cruel.” He had as
pupils Guidoccz'o Cozzarellz' (1450—1516), who
also worked with Francesco di Giorgio, and
Andrea, dd Niccolo who, to judge from the two
specimens in the Belle Arti, was no mean artist.

32 GUIDE TO SIENA.

The last of this period, who lived long enough
to feel the influence of the fresh blood infused
by painters of the Umbrian school, is Bemardz’no
Fungai or Fongari, who died in 1516. Nothing
is known of his life. Despite his stiffness and his
dry style, his colouring and his children’s faces
have a very pleasing efi'ect. His later pictures are
by no means so stiff, and the landscape shows signs
of his having taken hints from foreign masters.
Pacchiarotto and Peruzzi were pupils of his.

Second Period.

The first of these is Giacomo Pacchiarotto, the
son of a woolstapler, born in 1474. He studied
in the school of Fungai, but had opportunities of
observing the Umbriau school. The first notice
of him mentions him as working in the Duomo,
where among other things he made some of the
emperors’ heads in stucco. His landscape and
some of his heads show the influence of the new
school, though his faces are for the most part
wanting in dignity; the position of his figures is
stiff, and the drapery wrapped close around their
bodies, as may be seen in his pictures of the
Ascension in the Carmine and at the Belle Arti.
He lived in troubled times, and seems to have been
of a turbulent disposition. He was sent into exile
for a short time, but did not learn to be quiet,
for on his return he became one of the leading

PA CCHIA AND PAOCHIAROTTO. 33

pirits in the Compagna dei Bardotti, a demo-
cratic society, who met to read Livy and to
learn the art of self-defence, and took as their
leading principles defiance of the authorities, and
life at the expense of others. A dearth in 1533
brought things to a climax, and they became so
Violent that two of them were hung. This had
such an effect on Pacchariotto that for two days
he hid in a newly-made tomb, and then hunger
and the stench driving him out he fled to the
Osservanza where be occupied himself with
painting in the crypt. In 1539 he was banished,
but returned to Siena in the following year, after
which there are no records of him.

There is another artist, of much greater power,
who has been confused with him—Girolamo del
Pacchz'a, or Pacchiarotti. He was the son of a
Hungarian from Agram, who settled in the town.
He was born in January 1477, and studied at
Florence and Rome, where he painted a Trans-
figuration for the Ara Coeli. In 1511 he was
back in Siena and painted a picture now in the
Belle Arti, which is an exact facsimile of one
by Albertinelli at Florence. His pictures show
him to have been deeply impressed with the work
of the artists of Florence, especially one in St.
Christopher, which approaches Raphael in style.
His chief frescoes are in San Bernardino, and in
the Chapel of the Contrada del Oca. He lived

D

34 GUIDE TO SIENA.

near the Port-a Ovile, and in 1511 married
Caterina di Giovanni. After 1535 no record of
him remains. He was a member of the Accademia
dei Rozzi and of the Bardotti.

Giovantom'o Bavzzz', Il Sodoma, was born in 117 7
at Vercelli in Piedmont, and studied under
Leonardo da Vinci. His family must probably
have had reverses and changed their name from
Tizioni to Bazzi, for when Sodoma was made
cavaliere he assumed that name. He was made
a citizen of Siena and married Beatrice di Luca
Galli, hostess of the Corona di Siena, of whom he
has left a portrait at Monte Olivetto. Beyond a
certain time spent in Rome, painting chiefly at
the Villa Farncsina, he liv2d in Siena, and
painted there or in the neighbourhood. The
dates of his chief works are—1503, frcscoes at
Sta. Anna in Greta; 1512, Deposition from the
Cross, in the Belle Arti; 1529, Sala di Mappa-
mondo; 1530, Cappella dci Spagnuoli; 1532,
San Bernardino; 1535, Resurrection; 1537, Ma-
donna and Saints in I’alazzo Pubblico; his fres-
coes at Monte Olivetto were executed in 1502.

In Sodoma the Sienese school reaches its
perfection, and no one has surpassed him in
the sweetness of expression infused into his
faces; he fails in composition, and sometimes
even in d ‘awing, witness the frescoes at Sta. Anna
in Greta. In his pictures such as the Deposition

sonata AND HIS PUPILS. - 35

from the Cross, or the Adoration of the Magi in
Sant’ Agostino, and in his early pictures at Turin,
he shows some affinity to the Ferrarese school.
He died on February 14, 1549. With his scho-
lars may be considered to begin the decadence
school.

Giomo d1} Sodoma, the son of a barber, born in
'1507, and died in 1561. He followed his master
more closely than any other, but there now only
remains the one picture in Sta. Mustiola. He was
a person of thievish propensities.

Lorenzo Rustico, a fearfully ugly man, with a
nature fond of playing tricks, a sort of second
Buffirlu‘racco. Being ordered to paint the Medici
arms, he put handles to the balls, “that they
might be more easily removed in case of a revo—
lution,” for this he was imprisoned. He painted
the roof of the Loggia dei Nobili, which has
lately been restored. He is the first of the family
from whom came Rusticone and Rustichz'no. He
died in 1572.

Bartolomeo dd Neronz', Il Re'ocz'o, Sodoma’s
favourite pupil, who became his son-in-law. His
pictures for the most part are a feeble copy of
Sodorna’s style. He was employed to paint the
Emperor Charles, and Don Diego di Mendozza,
and in 1552 had charge of the construction of all
the fortifications round Siena. After the sack of
the town he retired to Lucca, but returned to

D 2

35 GUIDE TO SIENA.

Siena in 1567, when he made plans for the
choir stalls, and the pulpit steps. He died in
1571.

Domenico Becca fume, known as Il Meecam'no, was
born in 1486, and studied first under Capanna, and
then under Perugino, of whose style one may see
traces in his earlier pictures. He then went to
Rome and studied Michelangelo, without under-
standing him fully; the result was that in his
later pictures he produced distorted limbs, gene-
rally attached to weak faces. His most success-
ful work was in niello, for the pavement of the
Cathedral; he also has left some pleasing casts
in bronze. He died in 1551.

Baldassare Peruzzi, painter and architect, born
in ,Siena 1481, is an artist of whom the Sicnese
are very proud. He is described as being of
great personal beauty and exquisite manners,
but was dogged through life with misfortune
and poverty. His first master was Fungai, and
he then assisted Pinturicchio in the pictures in
the Chapel of St. John. In 1503 he went to an
nferior master in Home, where he soon distin-
guished himself, and was employed in Sant’
Onofrio, and in the construction of the Villa
Farnesina, where he also painted. In 1527 he
lost all he had, and returned to Siena, leaving
records of himself in the Sibyl at Fontegiusta,
and the frescoes at Belcaro. He was appointed

THE SALIMBENI. 37

military engineer to the town. In 1537 he re-
turned to Rome, where he died, and was buried
in the Pantheon. He shows more than any
other Sienese artist the ideas of the Renaissance,
in his love of Greek and Roman models and his
fondness for the nude; but he fails often in
drawing, and seems to have had special difficul-
ties in depicting the human neck. As an architect
he is celebrated for his graceful belfries, and for
his severe early style.

Third Period—Decadence.

The first of this school is Arcangelo Salimbeni,
who flourished about 1570 ; he is the best of this
school, clear and free from afi‘ectation; he does
not indulge in “bare-legged children kicking
and howling in volumes of smoke.” He was a
pupil of Federigo Zuccheri of Rome. To his
school belongs his son Ventum Salimbemfi, a far
inferior artist, who divided his time between
painting and love affairs. He went to Parma
and Modena, where he studied Correggio and
Parmigiano. He was a most prolific painter, and
may be studied anywhere. He was born in 1557,
and died in 1613. His step—brother Francesco
Vanni, who often painted with him, is a more
pleasing painter, and occasionally painted some
very sweet faces; like Salimbeni he studied
Correggio and Parmigianohbut in style he ap—

38 GUIDE TO SILVA.

proaches nearer to Baroccio. Born 1563, died
1610. He had two sons, Raphael Vanni, who
studied under him and Carracci, and acquired two
styles, in one of which he may be recognised by his
light drapery and bright colour, a little sugges-
tive of Rubens; in the other he resembles the
pupils of Guido. His brother Michelangelo Vanni
occupied himself chiefly with painting 011 marble.
Oasolanz', born 1541, died 1607, sometimes thought
to have~ been another step-brother of Francesco
Vanni, resembles Baroccio in style, but painted
very pretty pictures. He often painted with
Ventura Salimbeni and Francesco Vanni.

Rntilz’o Manetz‘z‘, 157 2—1 639, a pupil of Francesco
Vanni, adopted a vigorous style of his own, re-
sembling that of Michelangelo Caravaggio; his
pictures are remarkably dark, but correct in
design. His son Domenico lleez‘z‘i followed in
his steps.

Astolfo Petrazzz', 1579—1653, a pupil of Ventura
Salimbeni, whose style he followed; his best pic-
ture is the Last Sacrament of St. Jerome in St.
Agostino. He opened a school in Siena, and had
Borgognone as a pupil.

Pietro Sorri worked with the younger Salim-
beni, but then studied the Venetian school, of
’ Whose style there are many traces in his works,
especially in the Adoration of the Magi in the
Cathedral. Born 1556, died 1622.

PINTURICCHIO. 39

Nassim', 1664-1736, possessed a“ fervid genius,
feitile imagination, and a taste for allego1y”;
combining these he painted by the yard. May
be studied in the Church of SS. T1inita and San
Francesco.

Of modern Sienese, Franchi and Maccari are
the best, the latter of whom is really powerful.
Mussini also deserves mention.

Before leaving the Sienese painters entirely,
Bernardino Betti must be mentioned, Who though
in reality he belonged to the Umblian school,
yet lived and \101ked so much in Siena, and had
such an influence on the works of Sienese artists
at the beginning of the sixteenth century, that no
record of the school would be complete without
him.

He was born in Perugia in 1454, and his father
was a certain Benedetto di Biagio, whence he took
the name Bernardino Betti, though he has been
generally better known under the appellation of II
Pinturicchio, “ the little painter,” or II Sbrdicchio
from his deafness. Of his earlier life there are
but few records, most speak of him as self—taught,
though some suggest that he was a pupil of
Buonfigli. He worked a great deal with Perugino,
whose junior he was by eight years, and with
whom he was employed in the Sistine Chapel.
He left Rome in 1&92, and worked in the Cathe-
dral at Orvieto, but these works have almost

4O GUIDE TO SIENA.

entirely perished. In 1496 he returned to
Perugia, where he continued painting pictures,
until he went to Spello and executed the frescoes
in the Pieve there. It was through this work
that Piccolomini heard of him, and invited him
to Siena to fresco the walls of the Libreria to
the honour of Pius II. Thereupon Pinturicchio
removed to Siena, 1502, and from this time forth
took up his abode in the town, buying houses and
lands, though he seems to have lived a reckless
life in regard to money matters. But little is
heard of him until the year 1513, when we read
of him as sick and in bed, abandoned by his wife
Grania, who from time to time sent messengers to
him to examine him as to the disposition of his
property, which she was eager to share with her
lover. It was in vain that he begged them to
assist him, and complained that he was dying of
hunger. It was a consummation his wife devoutly
wished, and one which in a short time took place.
He was buried in the Chapel of the Contrada of
the Istrice. Unhappy and unfortunate during
his life, his memory has fared but little better,
chiefly owing to the faint praise bestowed on him
by Vasari. He is the artist who showed by far
more dramatic power, and Vigour of form, than
any other of the Umbrian school, and the faces
and figures of his frescoes are more manly and
natural than those of Perugino. He always works

SCULPTORS AND ARCHITECTS. 41

hard at his landscape though he is not always
quite successful in his perspective. He confined
himself to tempera, and like Perugino has been
guilty of some very careless work, but his frescoes
in the Libreria at Siena, and an Ancona in the
gallery at Perugia will compare with the work of
any known artist.

LIST OF SIENESE SCULPTORS AND ARCHITECTS.

During the early part of Sienese history,
Giovanni di Stephano, belonging to the Byzan—
tine period, deserves mention; the other works
are due to foreign hands, Niccolo Pisano, Goro,
Lapo.

Camaino di Crescentino, 1298—1338.

Lando di Pietro. First mention was made of
him in 1311, when he went to Naples, whence he
was recalled for the new plan of the Duomo:
died 1310.

Agostz'no dz' Giovanni and Angelo dd Ventum,
who died in the plague of 1348. Both studied
the Pisan school, and were employed on the
Cathedral, Porta Tufi and Romana, the Fonte
Gaia, and the tower of the Palazzo Pubblico.
Their chief works in sculpture are to be seen in
the tomb of Guido Tarlati at Arezzo, in the lower
church at Assisi, and at Orvieto.

Giacomo della Quercia, known also as Giacomo

42 GUIDE TO SIENA.

del Fonte from his work at the Fonte Gaia:
born 1374, died 1438 from over fatigue whilst
managing the affairs of the Cathedral. He was
employed at Lueca, Florence, and Bologna. His
chief works in Siena were the Fonte Gaia, and
part of the font in the Baptistery. The two
following worked under him:

Antonio Federz'ghi was living in 1481, chiefly
known now for his graffiti.

Lorenzo dz’ Pietro, ll Vecchz‘ctz‘a, 1410—1480
(studied under Rosellino), designed the Loggia
dei Papi ; his statues may be seen on the Loggia
dei Nobili, in Sta. Maria della Seala and the
Cathedral; also a painter, q.v.

,Franceseo di Giorgio, 1439— 1502; also a
painter, q.V.

N eroccio di Bartolomeo Landi, 1447—1500.

Giacomo Cozzarelli, 1453—1515 ; pupil of Fran-
cesco di Giorgio, architect and caster in bronze;
see Palazzo Magnifieo, also a painter, q.v.

Lorenzo dz' Zlfarriano, IZ Marrimr, 1476—1537,
has never been surpassed in decorative marble
work; see the altar-piece at Fonte Giusta, also
San Martino and San Girolamo.

Giovanni delle Bombarde, flourishing 1462,
sculptor and worker in bronze.

11 T0220, 1503—1549.

Baldassare Peruzzi, 14814537, architect; also
a painter, q.v.

SCULPTORS AND ARCHITECTS. 43

Domenico Beccafumi, 1486—1551, caster in
bronze and worker in grafliti; also a painter, q.v.

Riccio, architect, sculptor, and caster in bronze ;
also a painter, q.v.

Giovanni Dupre, 1817—1882, sculptor; chief
works in Siena, Pope Pius II. and a Pieté.

WOOD-GAMERS.

Domenico di Niccolo or dei Cori, 1363—1456.
Antonio Barili, 1453—1516.
Benedetto di Giovanni, 16th century.

44 GUIDE TO SIENA.

CHAPTER III.
PALAZZO l’UBBLICO.

THE site of the present Palazzo was originally
occupied by loggie for merchants, but these
were removed in the thirteenth century to make
place for a government building. The palace
was begun in 1289, and the work continued until
1309. In 1325, the great Mangia tower was
added from designs of Agostino and Agnolo di
Siena. The name Torre della Mangia is due to
a figure which once boat the hours 011 the bell at
the top, but was removed in 1667. \Vhile it
existed it supplied the place of Pasquino at
Rome, and many a scurrilous epigram used to
be affixed to the sides of the tower. As far as
the first floor the facade is of travertine, above it
is brick. One may read there the fortunes of
the town: there are the three shields of free
Siena, the lion rampant, the plain shield with
Libertas, the black and white shield known as
la Balzana, then the palle of the Medici, and
lastly a tablet which records the Tuscan votes by
which Siena became incorporated in united Italy.

Before entering the palace we may look at the

pan/1220 PUBBL 100. 45

little chapel built in 1352, in memory of the
plague of 1348. The statues which adorn it are
by difi’erent hands, but all inferior. The vaulting
and frieze were the work of Francesco di Giorgio,
executed in 1460. Over the altar is a painting
much damaged and ill restored, originally painted
in 1537 by Sodoma. The whole chapel is a
mistake where it stands, as it spoils the coup
d’ocil when looking at the palace.

The entrance immediately to the right of the
chapel leads into a small court covered with
coats-of-arms, whence a staircase leads to the
communal prison, and the tower. For those who
do not mind countless steps, the view thereby
gained is very good. Every part of the town
is visible, and beyond the landscape is extensive,
including the Carrara Mountains, the Apennines,
Monte Amiata, and the towns of Monte Pulciano
and Cortona.

The next entrance leads into the Sala del Gran
Consiglio della Repubblica, 1327, which in 1560
was converted into a theatre by Riccio, so that
now the prisoners above have, as it were, reserved
seats for the opera.

The central entrance is the one where the
custode is to be found. Over the door stands a
statue of Sant’ Ansano by Andrea di Lando, and
in the entrance some stifi' fresco work, much
effaced, by Bartolo di Fredi, 1390. In the first

46 G UIDE T0 SIENA.

room on this floor, Sala del Sindaco, a Resurrec-
tion painted in 1535 by Sodoma; he has intro-
duced his own likeness among the guards as
Pietro della Francesca has done in the Resurrec-
tion at Borgo San Sepolcro.

On the wall to the left as one enters the next
room are three saints, Ansano, Anibrogio Sanse-
doni, and Emidio, by Sane (li Pietro. Within, a
large fresco of the Coronation of the Virgin, sur—
rounded by various saints, and at the sides Santa
Caterina and St. Bernardino, by Sane di Pietro.
This picture was painted over an older one; the
inscription belonging to it still remains: LII’PUS
VANNUS DE SENIS MILLnsmo TRECENTESIMO L011".
Those who painted in the Palazzo were not
content with one art alone, and many of them
have left little poems to explain their works.
This one bears the lines—

Quest’ ahna gloriosa Vergin pura,
Figliuola del suo figlo, sposa e madre,
Perehe 1’ etorno Padre

La trove huinil pin (1' altra persona
Dell’ universe qni Le da corona :
Vergine Madre dell’ eterno Die,
Delle cni sante mani se’ coronata
Sieti raccomandata

La tua diletta e fedele citta di Siena
Com’ in te spera: ave di grazia plena.

The other pictures in the room are by Ventura
Salimbeni, Manetti, Petrazzi, &c.
In the next- rooni, a Virgin and Child between

SALA DEL MAPPAMOND 0. 47

SS. Ansano and Galgano, painted by Sodoma in
1537. Then a room containing a picture, by Amos
Cassioli, of Provenzano Salvani, the Sienese leader
at Montaperto, sitting in the Piazza begging
money to ransom a friend taken prisoner by
Charles of Anjou, which act of humility saved
him from being placed in the Inferno by Dante.

\Ve now leave this part of the palace, and re-
enter it by the next door. To the right is a
column with the wolf and twins, by Giovanni and
Lorenzo Turini, 1429. The first room one enters
on the floor above is known as the Sala del
Mappamondo, from a map painted there by
Ambrogio Lorenzetti in 134—1. Nothing now
remains but the trace of Circles on the wall. At
the end of the hall is a large fresco of the Virgin
and Child under a baldachino, surrounded by the
saints particularly favourable to the Sienese. In
front of her stands a veiled woman with the
Deealogue representing the old law, and beside
her the new, a damsel crowned with the seven
sacraments. It was painted by Simone Martini
in 1315, and is very like the one at San Gimi-
guano, painted by his brother-in—law Lippo
Memmi, but not so well preserved. Below the
throne is a legend—

Li angelichi fiorecti, rose e gigli
Onde s’ adorna 10 celeste prato,
Non no dilettan piii ch’i buon consigli :

48 GUIDE TO SIENA.

Ma talor veggie chi per preprie state
Disprczza me e la mia term inganna:
E quando parla pcggio a piii ledato

Con ciuschedun con questo di eondonna.

The Virgin’s answer :

Diletti mei, ponete nelle menti
Che li devoti vostri preghi onesti
Come vorrete vei, fur?» contenti.

Me so i petenti a debil fien molesti,
vaando loro 0 con vergogni o danni
Le vos tre orazion non son per questi,
Ne per qualunque la mia term inganni.

On the Opposite wall is a fresco of Guidoriecie
at the siege of Montemassi. The figure stands
out wonderfully from the wall, and the armour
and the trappings of the horse give a vivid sketch
of the military costume of the time. This was
also painted by Simone Martini, and the (late
stands below, A1710 min MCCOXXOVIIIO.

Below are the figures of SS. Ansano and
Vittorio, and on the wall to the right, San
Bernardo (lei Tolomei the founder of Monte
Olivetto. All three were painted by Sodoma
1534. The figure of San Vittorio is especially
fine.

Continuing along the wall of the chapel, we
have Sane di Pietro, Santa Catarina by Veechi—
etta, 1461, and SS. Ambrogie Sansedoni and
Andrea Gallerani by pupils of Riccio. Above
are Chiaroscuro sketches of the war. The first.

SALA DEL MAPPAMONDO. 49

probably by Luca Thome, represents a conflict of
the Sicnese with the Bretoni in 1363, round
Asina Lunga, Torrita, and Bettole; the second is
later, representing a battle between the Floren-
tines and the Duke of Calabria in 1479, in the
Val d’Elsa, near Poggibonsi, by Lippo Vanni.

We now pass under the arch, on the vaulting
of which are Jupiter, Mars, and others on a gold
ground, into the chapel where all the frescoes are
by Taddeo Bartoli, assisted by his pupils Tuccio di‘
Simone and Bartolomeo Cecchi. They occupied
him from 1406—1414, and are by far the best
works he ever did, being exceedingly rich in
colouring, vigorous in the expressions of the
faces, though rather stiff in drawing.

To the left, a gigantic figure of St. Christopher;
then on the back wall, in the lunettes, the two great
principles of government, first Justice, “ the most
precious of all virtues of government, for without
it kingdoms pass from nation to nation,” secondly
Magnanimity, the soul that is alike calm in pros~
perity or woe, whose duty is to spare the con-
quered and war down the pond. Beneath them,
concrete instances of good government, giving us
much the same series as Perugino’s: Judas Macca-
baeus, Tullius Cicero, Cato of Utica, Scipio Nasica,
Curius Dentatus, Furius Camillus, Scipio Africanus.
Then that we may understand him fully, he has
written——

E

50

GUIDE TO SIENA.

Specchiatevi in costoro, voi che reggete,
Se volete regnare mille 9 mill’ auni.
Seguite il ben commune, e non v’ inganni
Se aleuna passione in voi avete.

Dritti consigli come quei rendete,

Che qui di sotto son 00’ lunghi pauni.
Giusti coll’ arme ue’ communi afl'anni,
Come quest’ altri che quaggiu vedete,
Sempre maggiori sarcte

Insieme uniti, e salirete

Al cielo pieno (1’ ogni glorin,

Siccome fece i1 gran popolo di M arte,
E1 quale avendo del moudo Vittoria
Perche in fra lore, si furo dentro partiti,
Perde la libertade in ogni parte.

See yourselves mirrored here, ye who bear sway,
If ye would govern for a thousand years.

Follow the common good, nor in] y say,

My heart is true, if secret hopes and fears
Rise in your breast,
And for the rest

Right counsel give like these below,

Whose garbs in mrmy a sweeping drapery flow.
For common evils keep your sabres keen,
Like the others who below are seen.

Still greater shall ye be
If bound together with a bond of love,
So shall ye rise unto the heavens above,
And all the glory of their fulness see.
Thus in the days of old
The Martian people bold
Held all the world in their victorious sway;
But when divisions rose
They fell before their foes
And liberty for ever sped away.

With these thoughts we may enter the chapel

THE CHAPEL IN THE PALAZZO. 51

where the councillors assembled for prayer, and
here Taddeo has painted the glories of the
Virgin to whom the city was dedicated.

Above 011 the left is the Cenacolo of the Virgin,
then on the right her death, in which Christ
stands over her and receives her soul as a new-
born babe. Below on the left she is carried out
to burial, and then Christ descends with cherubim
and seraphim to raise her from the tomb.

Over the altar is a Holy Family by Sodoma, in
which he approaches very near to Raphael; it was
brought hither from the Cathedral in 1681. The
intarsia of the stalls, representing the articles of .7
the Credo, was executed in 1428 by Domenico di
Niccolo, known from this as Domenico del Core.
The figure on the font is by Turini. In the middle
of the chapel hangs a lamp of the fourteenth cen-
tu1y, and the iron g1ill which separates the chapel
flom the passage is by Niccolo di Paolo, 1436,
but it w as finished after his death by his son.

\\ e now pass into a small 100m known as the
Sacristy. 011 the left wall are three fragments of
fresco. A Virgin and Child bearing the inscrip-
tion CIUITA SENA. MCCCCXXVIII, a St. Paul attri-
buted to Simone Martini, and a St. Sebastian,
with another Virgin and Child.

011 the wall to the left, four saints attributed
to Lorenzetti, which look much more like the
work of Luca Thome. An Annunciation by

E 2

52 GUIDE TO SIENA.

Lorenzetti considerably rctouched; and in the
centre a Virgin and Child between angels by
Matteo di Giovanni, signed A.D. MOCCCCLXXXIII.

The room on the left as one enters is the Sala
del Consistorz'o, now hung with tapestry, and
frescoed in bright thin colours by Domenico
Beccafumi between the years 1529—1535. They
represent scenes from Greek and Roman history,
of a kind to teach the citizen the duty of self-
sacrifice to the State.

In the room opposite, Said della Balm, Spinello
Aretino and his son Parri were employed to paint
events from the life of Alexander III. Several
of them have suffered considerably from want
of care, but those on the right-hand wall are
perfect.

The paintings 011 the roof are by Martino di
Bartolomeo, 1108. There are three caskets in the
room, the oldest is by Cristofano di Cusano, and
dates from 1373 ; another with pictures attributed
to Fra Angelico ; the third a piece of handsome
Sienese work by Barili, 1506.

“'e again cross the Sala del Mappamondo into
the Sala dez' Nora or Sala della Pace, on three
sides of which there are frescoes by Ambrogio
Lorenzetti painted in 1337 and the following
year, which were retouched in 1451 by Pietro (1i
Francesco, in 1518 by Benvenuto, and in 1521 by
Lorenzo di Francesco, but are now in a sad state

LORENZETTI FRESCOES. , 53

despite the efforts made in 1880 by Giorgio
Bandini.

They represent Good and Bad Government.
011 the end wall is the pageant of Good Govern-
ment. To the left of the picture sits a large
figure of Justice, around whose head is written
“Diligite justitiam . . . .”; above her is Wisdom.
for without wisdom she would avail nothing; 011
either side of her are Aristotelian exemplifica-
tions, above which are written DISTRIBUTIVA, and
COMITATIVA (sic ‘9). we may now follow the
upper series which lead up to the colossal figure
of Constantine, Lorenzetti’s ideal of a Christian
ruler. Above his head flit Faith, Hope, and
Charity. This series begins with PAX, a splendid
female figure leaning back in her seat, then PRU‘
DENTIA, MAGNANIMITAS, TEMPERANTIA with a foun-
tain, IUSTITIA again, this time Executive Justice,
with a sword and a man’s head.

Below the original figure of Justice sits Con-
cord, to whom is attached this legend:

Questa santa virtu la dove regge
Induce ad unita gli animi molti,

E questi a 0i?) ricolti

Un bcn commun per lor Signor si fanno ;
Lo qua], per governar suo stato elegge
Di non tener giammai gli occhi rivolti
Da lo splendor de’ volti

Delle virtu che torno a lui si stanno.
Per questo con triunfo a lui si danno
Censi, tributi et signorie di terre;

Per questo, senza guerre

54 : GUIDE TO SIENA.

Seguita poi ogni civile et’fetto
Utilc, necessznrio e di diletto.

This sacred Virtue, whercsoe’cr she reigns,
The minds of many unto unity constrains,
And they in this respect
Conjoined, are of their lord the universal pride.
And he, to rule the better, doth elcct
Never his eyes to turn aside
From off those faces that with radiance glow
Of all the virtues that around him stand.
For this, with triumph they on him bestow
Tribute and tithes and scignorage of land.
By this too, without fear of war
All ends of state attained are
That minister to use, or right,
Or such as merely give delight.

Beginning from her, a line of good citizens
extends to the right of the picture, where stands
a figure clad in black and white (the Sienese
colours), who unites them to herself by means of
a. red rope passing among them. rl‘he donor is
introduced as a man holding a tower, probably
meant as the emblem of civic power, as in
section ix. of Giotto’s tower.

On the right wall, the town and country are
seen as a concrete example of good govern-
ment. Every one is happy and contented in the
pursuit of his natural vocation, and none need
fear, for safety rules over all. SICUREZZA is
represented flying in the air, with an impaled
nialefactor in one hand and a scroll in the other,
on which is written,—

L ORENZE TTI FRESOOES. 55

Senza paura ogni uomo franco camini,
E lavorando semini ciascuno

Mentre che tal commune

Mantcrra questa donna in signoria,
Ch’ ella ha levata a’ rei ogni balia.

Let every upright man walk free,

Let each one work and sow his land
So long as this community

Shall keep this lady in command,
For she it is hath ta’en away
From wicked governours their sway.

Under these scenes of city life and rural happi-
ness runs the legend-—

Volgete gli occhi a rimirar costei,

Voi che reggete, 011’ e qui figurata,

E per sua eccellenzia coronata

La qual sempre a ciascun suo diritto rende ;
Guardate quanti bin vengon da lei,

E come e dolce vita, e riposata

Quella citta, dove e servata

Questa virtu che pih d’altra risprende.
Ella guarda e difende

Chi lei onora, e lor nutria e pasce:

Da la sua luce nasce

El meritar color, ch’ operan bene

E agli iniqui dar debite pene.

All ye who govern cast your eyes around

To gaze on her that's figured here,
And for her excellence is crowned

Who ever unto each allots his rights ;

And mark ye what delights
Flow from her ; mark how sweet the life,

And how devoid of strife

That city is where she is held in fear,
The virtue that beyond all virtues shineth clear.

56 GUIDE TO SIENA.

For she it is that wards
Those that do honour her, and guards,
She suckles them and feeds ;
There springeth from her light
The guerdon of all those that do the right,
The just reward of those that do ill deeds.

We may now turn to the other wall, Where the
dissolution promised to the city that is not at
unity with itself, seems to have found fulfilment
even in the fresco, for but little of it remains
perfect. In the right-hand corner we have the
mask of Evil Government, who is represented
as a woman with a handsome wicked face, seated
on her throne surrounded by her satellites, some
with human forms, some with bestial shapes, but
all alike hideous; one can still decipher their
names, AVARITIA, VANA GLORIA, CRUDELITAS,
PRODITIO. Tranipled beneath her feet is Justice,
and one reads——

La dove sta legata la Iustizia

Nessnno a1 ben commune mai s’ accorda
Nc’ tira a diritta corda ;

Peri) convien che Tiraunia sormonti ;

La qual per adempir la sua nequizia
Nullo voler ne operar discorda

Dalla natura lorda

De’ vizi che con lei son qui congionti.
Questa caccia color che a1 ben son pronti
E chiama a se ciaseun che a male intende.
Questa sempre difende

Chi sforza, o robba o chi odiassa pace,
Unde ogni terra sua ineulta giace.

LORENZETTI FRESC’OES. 57

Where Justice lieth bound
No one is ever found
To call within his heart the common good his own,
Or rightly to take aim ;
And thus it came
That Tyranny did mount upon her throne;
Who to fill up
Of her iniquity the cup
Ne‘er separates one thought
Or wish or deed or aught
From out the nature of her vices foul,
Which are for ever Wedded to her soul.
She drives away those who to good are prone
And reckons as her own
Each who some ill intends.
’Tis she too that defends
He Who does wrong and robbery and flies
From all ideas of peace.
Thus without cease
Untilled, unploughed, her barren country lies.

Not much good is to be expected from such a
government, and when we look to the left, we see
what is left of the concrete expression of it, the
country is full of violence, the city full of armed
men. The presiding genius is Fear, TIMOR, a half
nude figure with dishevelled hair and a drawn
sword, having a scroll on which is written—

Per volere e1 ben proprio in questa terra
Sommess’ e la Giustizia. a. Tirannia,
Unde per questa via

Non passa, senza dubbio di morte
Che fuor si robba e drento da 1e porte.

Here each one seeks his own
And Justice’ self has grown
The slave of tyranny.

58 GUIDE TO SIEA’A.

Along the roads with bated breath
The traveller goes in fear of death.
Without, within, there’s nought but robbery.

Further along, Lorenzetti calls upon us to hear
the conclusion of the whole matter. The first line
and most of the second are obliterated.

e per effetto
Che (lov’ a tirannia, a gran sospetto,
Guerra, rapine, tradimenti e inganni
Prendon si signoria sopra (li lei,
E pongasi la mente e lo intelletto
In tencre scmpre a Iustizia soggetto
Ciaseun, per ischifar si scuri danni,
Abhattendo i tiranni;
E chi turbar la vuol, sia, per suo merto,
Diseacciato e (liserto,
Insieme eon qualunque s’ ha sequace,
Fortifieando Lei per nostra pace.

For whore lives tyranny is great suspicion ;

War, rapine, guile and treason
O'er her their power keep sure;
And for this reason,

That each one may avoid all ills obscure,

Let him keep heart and mind in such condition
That they serve justice, castingr to the ground
All tyrants, and if any there be found
That Would o’er-throw her, let him be
Exiled and banned from this community,

With those that would him fellow; thus shall we increase
Her power, and live in peace.

Leaving the Palazzo Pubblico we may follow the
road round the Piazza del Campo, which is known
as the Costarella dei Barberi, being the stony

PALACES ROUND THE PIAZZA. 59

racecourse of the Paglio. Keeping to the right,
one passes the Palazzo Piccolomz'ni 0 del Governo.
The entrance is on the other side in the Via
Ilicasoli. It is a large Renaissance building
rather in the style of the Strozzi at Florence,
and is covered with the arms and insignia of
the Piccolomini family. It was built in 1469
at the expense of Andrea Piccolomini, and the
designs for it are generally attributed to Bosellino.
The ironwork on the exterior is the work of
Marrina. It was for some time used as the seat
of government, but now the archives are kept
there. The collection may be seen by every one,
and is exceedingly interesting, containing old
records of the taxes and revenues of Siena from
the earliest times, together with many letters
from Popes and other distinguished people, and
Boccaccio’s will. There are also some good minia-
tures, one especially of the Assumption, and some
exquisitely wrought book-covers.

The Gothic palace next it is Palazzo Sansedoni.
Keeping round the Piazza one reaches the Casino
dei Nobili directly opposite the Palazzo Pubblico.
The original facade of this palace, which is now
an aristocratic club, was designed in 1309 by
Duccio, but was entirely restored in 1763. In
front of it, across the Costarella, is the Fonte Gaia,
so called from the immense festival that was held
when the fountain was first finished by Agostino

60 GUIDE TO SIEA‘A.

and Agnolo da Siena in the year 1343. So
delighted were the Sienese at the successful
engineering of the two brothers in bringing the
water to the Piazza del Campo (for formerly they
had been very ill supplied), that they entrusted
the decoration of the fountain to Giacomo della
Quercia, who, with the assistance of Francesco
Valdambrino and Ansano di Matteo, produced so
beautiful a work, that from that time forth he
was known as Giacomo del Fonte. Time,
however, and the frequent brawls in the Campo
destroyed the original sculpture, but it has been
admirably restored from the original designs by
Tito Sarocchi. The subjects are as follows: on
the left, the Creation of Adam, and two theological
virtues. Then on the back wall: Fortitude clad
in armour, with a mace as in Botticelli’s picture;
Prudence with a scroll and a serpent; then in
the centre, a Virgin and Child with an angel on
either side; Justice with sword and scales ; Charity
with two children. On the right wall, Faith,
Hope, and the Expulsion of Adam and Eve.
Leaving the Piazza by the little alley t0 the
right of the Casino, one enters the Via Cavour
with the Loggia degli Um'ti on one’s left. This,
which is also known as the Loggia dei Mercanti
and dei Nobili, is a little suggestive of' the
Lanzi at Florence. It was built in 1417 from
designs of Sane di Matteo, and adorned in 1437

ACOADEMIA DE] ROZZI. 61

by Pietro Minella. In 1458 Lorenzo di Pietro, Il
Vecchietta, carved the statues of St. Peter and
St. Paul, while those of San Vittorio, Sant’
Ansano, and San Savino are by Antonio Federighi.
The frescoes on the vault were by the hands of
Pastorini and Rustici, but were restored in 1883
not in the best. taste.

Continuing up the Via Gavour, we pass on the
right the Accademz'a, dez' Rozzz', together with the
theatre of that name. This society dates from
the seventeenth century, the great age of Aca-
demies, witness the Crusca, Svogliati, and Apotisti
of Florence. Its object was to secure the unity of
the citizens by combining them for literary and
dramatic pursuits. It is still a good club, and
takes in several papers of which the stranger may
avail himself if introduced by a member.

Further up the street to the left is the Palazzo
Saraccni, a family which will be extinct in the
next century. One passes through a covered
vestibule into an open court, where stands the
bust of Pope Julius III. The palace dates from
1200, but it was entirely renewed in 1787 by Cav.
Galgano Saraceni. The vaulting of the small
arcade is covered with frescoes of plants, animals,
and birds, beautifully painted, giving us much of
the flora and fauna of the neighbourhood. They
are attributed to Giorgio di Giovanni.

To the right there is a little chapel open on

62 GUIDE TO SIENA.

Good Fridays, the altar-piece in which is well
worth seeing. A crucifix stands out from the
wall, upon which are painted the chief figures of
the Calvary by Sodoma; a work in his Raphael:
esque style. In the upper rooms of the palace is
a collection of modern pictures by Maffei, Bruni,
Maccari, and others.

Further up the street on the right is the
Palazzo Nemcci, built by Rosellino in 1463, at
the cost of Caterina Piccolornini, the sister of
Pius II. Next it the Palazzo Marsih', a Gothic
building in red brick. The original palace was
built in the early days of the republic, but was
rebuilt in 1459. It was restored on the old lines
in 1876 by Guiseppe Part-ini.

A small street, Via del Castoro, leads to the
Cathedral. It passes through the unfinished walls
of a vast building, and as one ascends it, one sees
the blue sky through a richly carved aperture,
which was to have been the western window of
the great Sienese metropolitan church. This
building with its marble pillars, standing an
unfinished ruin in the centre of the town, tells
one more eloquently than words could express
the history of Siena. At the beginning of the
fourteenth century, her resources began to de-
velop, and the growth of her population, and the
prestige she had acquired among surrounding
States suggested to her leading spirits the idea of

APPROACH TO THE CATHEDRAL. 63

building a church, to which their Cathedral as it
then stood, should serve but as a transept. This
decision was come to in 1322, and in 1329 we
find Piero di Lando fetched from Naples and
installed as master of the works. The building
grew rapidly, for every Sienese man contributed
either money or labour. But these years of
promise soon came to an end. Severe dearth
in 1340, followed by the plague in 1348, reduced
the State to beggary, and carried off three-fourths
of its population. This year was the turning
point for Siena: the Lorenzetti and many other
celebrated men were carried off by the plague,
and from henceforth Siena was doomed to relapse
into mediocrity, and in 1356 all idea of con-
tinuing the larger building was abandoned, which
now remains as an emblem of the unfulfilled
aspirations of humanity.

64 GUIDE TO SIENA.

CHAPTER IV.
THE CATHEDRAL.

TRADITION says that the site of the present
building was once occupied by a temple of
Minerva, but when this was replaced by a church
is not known. The earliest notice we have of it
is in 947, when it is mentioned as dedicated to
Maria Vergine Assunta. There are but few other
facts known with regard to its earlier history. A
council was held there in 1057 at which Pope
Nicholas II. was elected. In 1089 additions were
made to the building, and in 1179 it was con-
secrated by Pope Alexander III. Before going
into artistic details it will be well to mention one
or two principal dates connected with it. Designs
for the western facade were made in 1245 by
Niccolo Pisano, and were partly carried out in
1284 by his son Giovanni, but in 1379 it was
refashioned by Giovanni di Ceceo, who, however,
kept very much to the old lines. The cupola
dates from 1261. At the beginning of the next
century, 1317, the work was entrusted to Agostino
and Agnolo of Siena, to whom is due the prolong-
ation of the building over the Baptistery, together

THE PA VEJIENT. 65

with the decorations of that facade and the north
side of the Church. They also constructed the
Campanile, known as the Torre Bisdomini, which
somehow does not seem quite to occupy the
right position, and is not very pleasing to the
eye owing to its decided tiger stripe.

The Facade has been lately restored. The
mosaics above were executed in 1878 by Cas-
tellani of Venice from designs of Mussini and
Franchi.

Those Who desire to distinguish the patriarchs
and prophets who adorn the facade, will find that
they have mostly their names inscribed at their
bases. The carving at the side of the doors
is very lovely and almost intact; though the bas-
relief of the Life of the Virgin has been much
damaged. It is St. Bernardino with the tower
who presides over the central door.

The Pavement.

Volgi gli occhi in gih
Buon ti sara per alleggiar la via
Vcder lo letto delle piante tue.
Purg. xii. 13.

The whole of the floor of the Cathedral is
covered with graffiti, that is to say pictures in
different coloured marbles, the chief outlines of
which are picked out with black. This niello
work being unique, one may turn one's attention

F

66 GUIDE TO SIENA.

to it first, and gather how the old Italian artists
would have the children of the Church instructed
in Biblical and Apocryphal history. During the
greater part of the year the finer works are
boarded over, and so it will be best to take the
uncovered ones first.

Beginning at the great west door, one finds at
the entrance the following legend let into the
pavement :—

CASTISSIMUM VIRGINIS TEMPLUM CASTE ME-
MENTO INGREDI.

We then have a graffito in front of us which,
together with the five Sibyls in each aisle, give
us the testimony which heathendom bore to the
coming of Christ :——

(1.) The first takes us back to the time of Moses,
and is inscribed HERMES MERCURIUS TRIMEGISTUS
CONTEMPORANEUS MOYSII. Hermes Trismegistus,
the Egyptian Toth, a fabulous person generally
recognised as the first of Alchemists, and pro-
fessedly the author of a book ‘ Tractatus aureus.’
“ This Trismegistus, continued my father, was the
greatest of all earthly beings—he was the greatest
king—the greatest law-giver—the greatest philo-
sopher and the greatest priest. And engineer?
said my uncle Toby. In course, said my father”
(‘ Tristram Shandy ’). He is here represented with
a turban ; the legend says, “ Suscipite olicteras et
legcs Egypti.”

 

TIIE SIB ms. 67

On the right is written the prophecy of the Messiah: Deus
omnium Creator sec-um Deumfecit visibilem, et hunc fecz't primmn
et solum, quo oblcctalus est et valde auzavit proprz'um filium, qui
appellatur Sanctum Verbum, “God the Creator of all together
with Himself made God Visible, and Him He made first and
sole, His own son, in whom He delighted, and loved exceedingly,
who is called the Holy Word.”

It dates from 1488, and was probably designed
by Giovanni di Stephano; was restored by Leo-
poldo Maccari, 1867.

(2.) \Ve now come to a series of five Sibyls in
the right aisle. They date from 1482, but were
all restored, in 1867—1869, by Maccari :—

SIBYLLA DELPHICA de qua Chrysippus, Lib. de
Divinat.

She is arrayed in a Greek dress, in her left hand holding a
cornucopia, her right grasps a tablet, supported by two sphinxes,
on which is written, Ipsum tuum cognosce Deum, qui Dez' filius
est, “ Recognise thy very God, who is the son of God.”

Executed by Giuliano di Biagio and Vito di Marco, 1482.

(3.) SIBYLLA CUMEA quam Piso in Annalibus
Nominat.

Her hair streams in the wind, and she has a pained expres-
sion of face : in her left hand she holds a book and t0 the right
is a tablet. supported by cherubs, on which is graven, Et mom's
fatum fim‘et, ct trium diermn somno suscepto tame a mortuis
regressus z'u lucem re'nz'et, primum resurrectionz’s initium osten—
dcns, “ He shall both accomplish His allotted death, and after
enduring a sleep of three days, He shall return from the dead,
and come into the light, showing the first beginning of the
Resurrection.”

This is the work of Luigi di Ruggiero and Vito di Marco (P),
1482.

F 2

68 GUIDE TO SIENA.

(4.) SIBYLLA CUMANA cuj us meminit Virgilius,
Eclog. IV.

The finest of this series. She has a stern face that is a little
suggestive of Dante; in her right hand she bears the sacred
branch, in her left gathered up with the folds of her garments
the last three books. To her right 011 the ground a bundle of
sticks from which proceed many flames, three books lie on them
and the other three are just falling, above is written :—

.
Ultimo Cumzm' venit jam carmz’nis zetas ;

Magnus ab z'm‘egro seclorum nascitur 0rdo ,-

Jam red/t et Virgo redezmt Saturnz'a regna;

Jam nova progenics cwlo demittitur alto.

“ Now has come the last age of the Cumman hymn; the
mighty line of ages begins its round anew; now too the Virgin
returns, the kingdoms of Saturn return ; now is a new race sent
down from heaven above.”

This was wrought in 1482 by Giovanni di Stefano.

(5.) SIBYLLA ERITHREEA quam Apollodorus suam
ait esse civem.

She is clothed in a Greek dress and her head is tightly
swathed. In her right hand she holds a clasped book, with her
left she touches a large book which lies open on a lectern,
De excelso celorum Imbitaculo prospcu't Dominus humiles was at
nascetur in diebus novissimis do Virgina Hebrzrw in cunabulis
term, “From His high abode in the heavens the Lord has
looked down upon His humble ones, and in the latter days He
shall be born of a Virgin, in the cradles of the Hebrew land.”

Executed originally by Antonio Federighi, in 1&82 ; this one
by Franchi.

(6.) SYBILLA PERSICA cujus meminit N icanor.
She wears a flowing headdress and has some gracefully

streaming drapery. Above a tripod is written, Pavnibus solum
quinque et piscz’bus duobus hominum millia in fame quinque

THE SIBYLS. 69

satiabil, reliqm'as tollens, xii. cophz'nos implebz't in spam multorum,
“ With only five loaves and two fishes He shall satisfy five thou-
sand men seated on the grass, and gathering up the remnants
shall fill twelve baskets, unto the hope of many.”

By Urbano da Cortona, 1482.

Turning to the left aisle and beginning at the
west we have—
(7.) SIBYLLA LIBICA cujus meminit Euripides.

In accordance with conventional opinion she is black, her face
is a little bent to look at a scroll which she is holding in one hand,
while in the other there is an open book, in which is written,
Cola phos acc'z‘pz'ens tacebit, debt"! in verbera imzocens dorsum,
“ He shall receive slaps and be silent, He shall give His innocent
back to the stripes.” On the other side is a tablet supported by
twined snakes, In manus iniquas reniet, dabunt Deo alapas
mam'bus incestz's, miseraba'lz's et z'gnomz’nz'osus mz'serabilibus spem
prabebz’t, “ He shall come into wicked hands, with hands un-
chaste shall they slap their God ; wretched and full of ignominy
He shall bring hope to the wretched.” ‘

The work of Guidoccio Cozzarelli, 1483.

(8.) SIBYLLA HELLESPONTICA in agro Trojano
nata quam scribit Heracliides Cyritempore fuisse.

She holds a book, below the legend a smug lion and wolf are
shaking paws. In cibumfel, in sitim acetum, hanc z'nhOspitalz'tatis
mensam monstrabunt. T empli vero scindetur velum et media die
720x erz't tenebrosa trz'bus horis. “ Gall for food and vinegar for His
thirst, this table of inhospitality shall they show Him. But the
veil of the temple shall be rent, and in the middle of the day
there shall be dark night for three hours.”

Neroccio, 1483.

(9.) SIBYLLA PHRYGIE quae Ancyrae Vatici—

nata est.

In her left hand she holds a book on which is written Solus
Deus sum, et non est Deus alias, “ I alone am God, and there is

F
10 GUIDE TO SIENA.

no God beside me.” The legend runs, Tuba de cwlo vocem
luctuosam emit(tet), Tartar-cum Chaos ostendet delu'scms term;
oem‘ent ad tribunal Dei rages omnes. Deus z'pse simuljudz'cans
pies et impz'os tune demum impios in z'gnem et tenebras mittet, qui
autem pietatem tenant z'ferum Tit-(mt. “The trumpets shall send
forth from heaven a sound of sorrow, the gaping earth shall
reveal the chaos of Tartarus; all kings shall come to the judg-
ment seat of God. God himself, judging at once the good and
bad, shall then at length send the wicked to flames and dark-
ness, but those who hold fast to piety shall live again.”

This is probably the work of Luigi di Ruggiero and Vito
di Marco, 1483.

(10.) SIBYLLA SAMICA de qua loquitur Eratos—
thenes.

She is dressed in flowing garments and holds a jewelled book,
she wears a girdle for which a winged cherub serves as a clasp. Tu
emim, stulta Juda’a Damn fuum non coyunristi Incentem mortalibus
mentibus, seed at spin'z's coronasti horridumque fel miscuisti, “ But
thou, O foolish J udaéa, hast notL recognised thy God, appearing
as alight to mortal minds, but thou hast both crowned Him with
thorns, and mingled vile gall.”

Designed by Matteo di Giovanni, 1483.

(11.) SIBYLLA ALBUNEA Tiburtina cognominata
est quod Tibnri pro Deo eolebatur.

In some ways the most beautiful of the series. She is
looking down and holds a book in her right hand. On either
side two streamers flutter in the wind, and the border and
fringe of her garment are most beautiful. Nascetur Christus in
Bethlehem annunciabitur in Nazareth regnante Tauro pacifico
fundalore quietz's; 0 felix mater, eujus ubem illum laetabunt,
“ Christ shall be born in Bethlehem, he shall be announced in
Nazareth, in the reign of the tranquil Bull, the establisher of
peace; 0 happy mother, whose paps shall give him suck.”

The work of Benvenuto di Giovanni del Guasta.

NIELLO WORK. 71

We may now cross over and begin above the
Sibyls in the right aisle. First to the right there
are allegorical subjects, generally covered.

(A) The Ages of Man, by Antonio Federighi,
1475; renewed.

(13.) Hope. The originals were executed in

(0.) Faith. 1780, but they have lately been

(1).) Charity. replaced from designs of Ales-

(E.) Religion. sandro F ranchi.

Returning to the larger ones,

(1.) The History of Jephthah. In front the
battle rages, behind is seen the meeting of J eph-
thah with his daughter, and on the extreme left
the sacrifice. Executed in 1483, by Bastiano
di Francesco.

(2.) The Death of Absalom. Absalom vidi pender
pei capelli. It is the only graflito in which we
have the leaves on the trees carefully executed,
in most the difficulty is avoided by giving wintry
branches. The figure of Absalom is quaint as
he hangs there, and a little suggests the Strummel
Peter of one’s youth. It was designed in 1447 by
Pietro del Minella.

(3.) To the left of it is the Emperor Sigismund
enthroned, by Domenico di Bartolo da Asciano,
1434.

(4.) Above these is represented Samson, doing
fearful execution with the jaw-bone of an ass.
The treatment of the subject is rather more

72 GUIDE TO SIENA.

comic than pleasing, and the drawing inferior.
Paolo di Martino, 1426.

(5.) Judas Maceabeeus to the right, by Cecchi,
1424, under the rails.

(6.) Moses to the left, MOYISI.

We may still go straight on, mounting the step
into the choir. Here we have some of the oldest
work, the figures are broad and unshapely, and
the drapery falls heavily—

(1.) Temperance is pouring' something from a vessel in her
right hand into one in her left, mixing water with the Wine.
Probable date 1380.

(2.) Prudence, with three heads, grasps a snake in her right
hand, a closed book in the other. Wisdom. Watchfulness,
Silence.

(3.) Christian Pz'ety, behind the high altar, very much worn.
dates from 1406.

(4.) Justice, in her left hand the World, in her right a long
two-edged sword, same date.

(5.) Fortitude, patiently abiding and ready for all that may
come; in her left hand a pillar of strength, in her right a
shield, HOG.

Descending the step we may now continue the
other series :—

(7.) Solomon, almost entirely covered by the
rail of the chapel, 1447.

(8.) Joshua defeats the five kings; designed by
Paolo di Martino and laid down in 1426, some
fifty years earlier than J ephthah. Notice the
difference in the armour.

NIELLO WORK. 73

(9.) To the right the figure of Joshua, with
the moon on his right, of the same date.

Before descending we may look at the graffiti
uncovered before the altar :—

(10.) David with his sling, and opposite him
(12) Goliath, who is just being struck by the
stone.

(11.) The Psalmist holding court. These three
were executed in 1423 by Domenico del Niccolo
del Coro. '

Returning into the left aisle :—

(13.) The Liberation of Betulia, executed by
Antonio Federighi, from designs of Urbano di
Cortona or Matteo di Giovanni, 1473. It is one
of the most vivid, and contains more incident
than any other. To the left is a city with square
mediaeval towers from which issues the army.
To the left of the gate, two classic heads are let
into the wall, below which sits a young knight
whose horse is being caparisoned. The whole of
the lower part is devoted to the battle. Above
on the extreme right Judith is beheading Holo-
phernes, while in the centre she is seen cross-
ing the hills towards the city, followed by an
attendant, who carries Holophernes’ head wrapped
in a cloth lying in a basket. The position of the
two figures and the flow of the d1ape1y is almost
identical with Botticelli’s pictu1e at Florence, so
much bepraised by Ruskin. The hills at the

74 GUIDE TO SIENA.

back are fieeked with various plants, and to the
left an oak-tree with carefully drawn leaves.

(14.) The Slaughter of the Innocents, by Matteo
di Giovanni, 1481. This is Matteo’s favourite
subject, and he reproduces it With varying
hideousness. To the left sits Herod, while all
below the slaughter is going 011. Pillars support
a gallery adorned with a frieze 0f the Cen-
taurs and Lapithte, &c., from the windows of
which children are looking 011 at the slaughter
below.

(15.) The Expulsion of Herod, a vigorous battle
piece partly restored to the right, by Benvenuto
di Giovanni, 1484.

We may now return to the west door and take
those that are generally covered 1——

(A.) The arms of the Confederate States, 1373.
Restored in 1867.

(B.) A wheel with the imperial eagle in the
centre, and columns for spokes, probably of the
same date.

(0.) The History of Fortune, by Pinturicehio,
executed by Paolo Manncci, 1506. The concep-
tion is partly taken from the PuigatOIio. A
rocky island lises from the sea, up which a wind-
ing path leads to fields of asphodel; to begin
with the path is stony and beset with reptiles,
but as it rises it becomes more pleasing. T0 the
right on the sea is a vessel with the mast snapped

HISTORY OF FORTUNE. 75

off short. Fortune, who is represented as a nude
female figure, stands with one foot on a ball, and
the other on the ship, from which she has just
snatched the sail and holds it high above her
head. On the shore a man with a book under
his arm sits with a drowsy discontented look,
waiting for Fortune to come to him. His position
is evidently taken from Dante’s description of
Belacqua, the Shade who was too lazy to climb
the Mount of Purgatory. To his right stands the
merchant to whom the ship belonged, astounded
and angry as he sees the sail and mast torn off.
Behind them a doubting crowd, some looking
at him, some towards the upward path. Then
comes the figure of one who with serious but
doubtful face is starting on the road, beyond him
one who begins to find the joys of a life of labour.
On the upper terrace in the centre sits a virgin
crowned, who holds a palm in one hand and a
jewelled book in the other; above her on a tablet
is written Hoc PROPERATE VIRI SALEBROSUM
SCANDITE MONTEM PULCHRA LABORIS ERUNT
PRJ-IMIA PALMA QIES, Hasten hither men, climb
this healthful mountain ; fair will be the rewards
of labour, the palm of victory and rest. To her
right Socrates, to her left Crates who has reached
the earthly Paradise and no longer cares for the
gewgaws of Fortune, which he empties from a
basket. into the sea.

76 G UIDE T0 SIENA.

(D.) The Wheel of Fortune, dating from 1872.

Port) giri fortuna la sua rota
Come 1e piace.

We now come to a big hexagon under the
cupola, which originally contained some parables
from the New Testament, and the story of Elijah
and Ahab. The former having been damaged
have now been replaced by other graffiti, which
give a dramatic termination to the rest of the
work. The older work was designed by Becca-
fumi between the years 1517 and 1547 and
carried out by various artificers.

Beginning in the right—hand corner :—

(1.) Elijah bids Obadiah bring Ahab to him.

(2.) Opposite. Obadiah delivers the message to Ahab.

(3.) The hexagon in the centre. Elijah meets Ahab, and
proposes to him a sacrifice on Carmel to prove which be the
true God. Behind, the bulloeks are led out for sacrifice.

(4.) To the left. The prophets of Baal call upon their god
to send down fire. The grouping is a little confused, and this
section is somewhat damaged.

(5.) Elijah’s sacrifice. The finest of the Beccafumi series.
Very vigorous in execution ; the false prophets are thrown into
wild confusion and dismay.

(6.) To the right. The prophets of Baal are slain at the
brook Kidron. Above to the right, Elijah sits wrapped in a
mantle, while his servant points to the small cloud rising from
the sea. Further to the right, Elijah bids Ahab get him down
to J ezreel for there is a sound of abundance of rain.

(7.) On the extreme left. Elijah, or the young man of the
prophets anoints J ehu.

(8.) In the parallel division opposite. Elijah fed by ravens, a
very beautiful little picture. These two sections-were spoilt by

HISTORY OF AHAB. 77

restoration in the last century, and have now been entirely
renewed.

We now come to entirely new work from new designs, in
which rather different methods have been adopted, especially
in the shading, but the result is exceedingly successful.

(1).) A little to the left of the last. Ahab is prostrate before
Elisha, who pronounces his doom: “The dogs shall lick thy
blood in the place where they licked the blood of Naboth.”
Behind is seen N aboth’s house with the funeral procession
slowly wending its way up the hill towards it.

(10.) Immediately below it. Elijah’s meeting with the widow
of Zarephnth.

(11.) Opposite. Elijah restores the widow's son. The weakest
of this series.

(12.) The Fulfilment of the prophecy, Ahab’s death. To the
right the turmoil of battle; the Israelites fly before their enemies.
To the left, Ahab stayed up in his chariot. He has turned aside
from the conflict, with his side pierced with an arrow, and is look-
ing back hopelessly, his hands clenched in agony and despair;
at the foot of his chariot wolf-like Syrian dogs snufi' and lick
the blood that has flowed from the wound. Between the horses
stands the charioteer lost to all else save the agony of his lord.

(13.) Elijah taken up to heaven in a chariot of fire. As fine a
rendering of the subject as one may wish to see, and has as
much movement in it as Raphael’s Vision of Ezekiel.

These last were executed in 1878, by Alessandro Franchi
and Leopoldo Maccari.

Continuing in an eastward direction we have
more of Beccafumi’s work :—

(E.) Moses draws water from the rock with his red, 1525.
(F.) Moses receives the tables of the law, 1531. It is divided
into six sections :—

(1.) Moses receives the tables.

(2.) The Hebrews await his descent from the mountain.

(3.) Destruction of idolatrous Hebrews.

(4.) Moses in wrath breaks the tables.

(5.) The sacrifice offered to the golden calf.

(6.) The Hebrews compel Aaron to make them an idol.

78 GUIDE TO SIENA.

(G.) Before the high altar the Sacrifice of Abraham, sur-
rounded by fourteen smaller pictures. Some of these only
covered with oil-cloth may be seen on application to the
sacristan. To the right :—

(l.) Elisha restoring the Shunamite’s son.
(2.) A prophet with a book.

(3.) Eve kneeling.

(4.) A female figure seated with a book.
(5.) Prudence, looking into a glass.

(6.) Melchizedeeh in not of sacrifice.

(7.) A female figure seated, with a child.

To the left 1——
(1.) Tobias with his son and the angel.
(2.) Charity.
(3.) Adam kneeling.
(4.) A prophet looking heavenward.
(5.) A female figure seated with a book.
(6.) Abel sacrificing, 1544.
(7.) A female figure seated, with a child.
Around there runs a border, representing the Departure of the
Israelites from Egypt.

Having now finished with the pavement, one
may begin at the south-west corner, and go round
the Cathedral to look at the carvings and pictures.
The figure of Paul V. (Camille Borghesi, 1605—
1621), by Fulvio Signorini, known as 11 Ninno.

lst Altar. The Vision of St. Francis, by Dome-
nico Canuti of Bologna, 16204 684.

2nd Altar. The Vision of St. Jerome, intro—
ducing the upper part of Raphael’s Transfiguration,
by Annibale Mazzuoli, 1684-1745.

3rd Altar. Virgin appearing to St. Francis de
Salis, by Raphael Vanni, 1596—1673.

CAPP ELLA DEL VO T0. 79

4th Altar. Marriage of St. Catherine, by
Piero Dandini of Florence, 1646—1712.

Here comes the south door; then the tomb of
Tommaso del Testa, by Neroccio Landini, 1437-—
1303, and the has-reliefs below by Urbano and
Bartolomeo da Cortona, 1500 (?).

Cappefla del Veto, known also as Cappella Chigi,
from Fabio Chigi, Pope Alexander VIL, who
had it built in 1661, from designs of Benedetto
Giovanelli.

On the high altar is a Virgin and Child in By-
zantine style, the Madonna delle Grazie, painted
in 1260, immediately after the battle of Mont- '
aperto, thought by some to be by Guido da
Siena. The bronze angels round are by Bernino
of Rome (1589—1680), who also carved the St.
Jerome and the Mary Magdalen, the latter of
which was originally intended as an Andromeda.
St. Catherine is by his pupil, Ereole Ferrata, and
St. Bernardino by Antonio Raggi. The picture
on the left, the Visitation, is by Maratta, a Roman
(1625—1713), and opposite, the Roman mosaic is
by Frey, from another picture of Maratta. The
altar is mostly of lapis lazulze, and the urn
contains the body of St. Sergius.

Right Transept.—Passing into the right tran-
sept, one comes across several tombs, Cardinal
Zondadari, Francesca Tolomei, Federico Petrucci;
but the best of them is that of Carlo Barteli, by

80 GUIDE TO SIENA.

Pietro del Minella, scholar of Jacobo della Quercia,
Giuliano de Como, and Antonio Federighi, 1444.

There are two more popes here, Alexander III.
(Orlando dci Paparoni Bandinelli), 1159—1187,
by Antonio Raggi, and Alexander VII. (Fabio
Chigi), 1655—1667, by Ercole Ferrata.

(1.) Daughters of Jerusalem weep not for me. A
modern picture by Mussini.

(2.) St. Bernardino preaching 15y Cav. Calabrese.
To the left of this is the Altare del Sacramento,
over which is a very soft and pretty picture of the
decadence period by Casolani, of Adoration of the
Shepherds, 1594.

On the side wall, half of the double picture
painted by Duccio, which was so highly esteemed
that it was carried in solemn procession to the
Church in 1310. Lanzi says of it, “ fu la piu
bella tavola che mai se \‘edesse ct chosto piu di
tremila d’oro.” * This section of it represents
scenes from the life of Christ, with a naturalness and
vividness very praiseworthy for those times ; those
who know the Lateran at Rome will remember the
Crucifixion of which this was the original.

The bas—reliefs below are by the Cortonesi.

Chain—The high altar was carved by Pelle-
grino di Pietro, from designs of Baldassare
Peruzzi, while the bronze ciborium which sur-

* “Duccio dipinse quests. tavola in he anni, e tutto di si fe
festa e la domcnica con gran divozionc si condusse in Duomo.”

CATHEDRAL STALLS. 81

mounts it was the work of Lorenzo di Pietro,
from 1465—1472, “Opus Laurentii Petri pictoris
alias Vecchietta de Senis, 1172.” The angels on
either side are by Francesco di Giorgio and
Beccafumi.

The Stalls, originally, were the work of Fran-
. cesco Longhi, 1387, but they were renewed in
1569 from designs of Bart. Negroni, Il Riccio,
the pupil of Sodoma; the carving was done by
Tasio da Pienza and Benedetto da Monte Pul-
ciano. The intarsia work in the panels, the
work of the great Benedictine, Giovanni da
Verona, 1503, belonged originally to the Church
of Monte Olivetto Maggiore, and are some of
the finest specimens ever produced.

The lectern and the seat to the right are by
the same hands, also from designs of Riccio, and
the movement of the angels at the top of the
cathedr'a is particularly good.

Turning to the walls, the assemblage of in-
feriorly painted Sienese saints is by Ventura
Salimbeni, 1629, and adjoining, Esther and King
Ahasuerus, also by him.

The alcove in the centre was painted in 1544
by Dom Beccafumi, but the work was retouched
by Mazzuoli, 1812; the Assumption which these
surround is by Bartolommeo Cesi of Bologna.

To the left, the Gathering of the Manna is one

of the best compositions Ventura Salimbeni ever
G

82 GUIDE TO SIENA.

produced, though the same cannot be said of the
Sienese saints adjoining. ’

Sacristy—Birth of the Virgin, Pietro Lorenzetti,
1342, the gradino of Duccio’s picture, St. Bernar-
dino, by San di Pietro. Two pictures of fifteenth
century.

The angel, of bronze gilt, supporting a benitier
of enamel, is by Giovanni di Turino, 1437; the
angels on the chests by Redi. The treasure con-
tains statuettes and reliquaries by Donatello,
Giacomo della Quercia, Pietro di Viva (who also
made a reliquary at Orvieto), Lorenzo Turini and
others. These are exhibited from the pulpit on
the afternoon of Easter Sunday, when thousands
of contadini come in to reverence the relics.

After leaving the sacristy, one enters the North
Trainsept, and to one’s right is the Altare di Sant’
Ansano. The altar-piece, a picture of St. Ansano
baptising the people of Siena, Francesco Vanni,
1593, placed here to be opposite his brother-in-
law Casolani’s picture.

At the foot of the altar let into the floor is
the tomb of Montsignor Pecci, executed in 1426
by Donatello, whose name is at the base. It is
in bronze, and is as perfect a piece of sepulchral
relief as one can find anywhere.

To the left above is the other half of Duccio’s
great picture representing the Virgin and Child
surrounded by Saints, 1310, with the inscription

NICCOLO PISANO’S PULPIT. 83

MATER.SANCTA.DEI SIS SENIS CAUSA REQIEI SIS
DUCIO VITA. QUIA . TE PINXIT . ITA.

Below it is a has-relief in Greek Byzantine style
coming from the Church of Ponte allo Spino.

The statue of Pius II. (fEneas Silvius Piccolo-
mini), 1458—1464, is by Guiseppe Mazzuoli, that
of Pius III. (Francesco Piccolomini Tedeschini),
1503, by Pietro Balestra.

2nd Altar. Virgin appearing, by Cav. Concha,
a pupil of Francesco Vanni.

lst Altar. The crucifix which was carried at
the battle of Montaperto, 1260. The figures at
the base are by Guiseppe Mazzuoli.

Opposite this transept stands the Pulpit, carved
by Niccolo Pisano, with the assistance of Giovanni
and Arnolfo, and Lapo, 1266—1268. It is octa-
gonal in form, and stands on ten pillars of oriental
marble, four of which are supported at the base
by lions. It is interesting to compare it with the
one Niccolo executed at Pisa in 1260. The
staircase and balustrade were added later from
designs of Riccio, 1543.

The bas-reliefs represent in seven sections the
scenes from the life of Christ :——(1) Nativity;
(2) Epiphany; (3) Presentation; (4) Flight into
Egypt; (5) Slaughter of the Innocents; (6)
Crucifixion; (7) Judgment.

During Lent and on occasions of great solem-

nity, the pulpit serves as an orchestra, and on
G 2

84 GUIDE TO SIENA.

Easter Sunday the great function of the exhibi-
tion of the relics is held in it, a ceremony so
curious that none who are in Siena on the after-
noon of Easter Sunday should miss it.

Before passing back into the nave one may
examine the cupola, which rises from the twelve
side walls of the dome, which in their turn rest
upon a hexagon. The decorations are inferior,
but one may notice the two poles which run up
the sides of the pillars of the dome. They are
the original flagstaves taken from the Carroccio
which the Sienese captured from the F lorentines
at Montaperto, 1260.

Turning towards the north aisle, one comes to
the Chapel of St. John the Baptist, built in 1482
from designs of Baldassarc Pcruzzi, by Giovanni
di Stefano and others. The decorations on the
outside are the work of Lorenzo di Mariano, I]
Marrina; the pilaster on the right is a piece of
antique carving found at Ansidonia. The iron
grill which lets one into the chapel was worked
by Sallustio di Francesco Barili. The octagonal
font is by J acomo della Quercia, and the statue
which surmounts it by Donatello, 1457 ; St.
Catherine, by Neroccio, 1487; Sant’ Ansano,
by Giovanni di Stefano. The original eight
frescoes were painted in 1504 by Bernardino
Betti, Il Pinturicchio, but three of them suffered
so much from damp that they have been replaced.

THE LIBRARY. 85

Beginning on the right :—

(1.) St. John preaching (Pinturicchio).

(2.) Francescini, Knight of Rhodes (Pintu—
ricchio).

(3.) St. John preaching, an early work of
Cesare Maccari, 1865, showing the influence of
the French school.

(4.) The Baptism, by Rustichino, 1608.

(5.) St. John preaching, by Bartolomeo Mei
These two are both inferior works.

((3.) The Birth of St. John,

(7.) St. John in the Wilderness, by
(8.) Francescini, Knight of J Pinturicchio.
Rhodes,

Passing thence into the aisle, one is immedi-
ately confronted with the Librarian, whose custode
generally sits at the door. It was built in 1495
at the expense of Pius 111., in memory of his
uncle Pius 11., Eneas Silvius Piccolomini. The
bronze work which lets us into the library was cast
by Antoniolo Ormanni in 1497 ; the decorations in
marble round the door are by Marrina. The big
fresco on the wall above represents the installa-
tion of Pius 111., and was painted by Pinturicchio,
but has somewhat suffered from the damp and
incense smoke of centuries. This is not, however,
the case with the ten frescoes within, which are
as fresh as if they had been painted yesterday.
It is not for us here to enter deeply into the

86 GUIDE TO SIENA.

controversy as to whether these pictures are the
work of Pinturicchio, or in great part that of
Raphael. It may, however, be stated that
Raphael was at this time only twenty, and it is
not likely that his old master Pinturicchio should
have worked entirely from his designs. There
exist two sketches by Raphael, one at Florence,
the other at Perugia, of the first and fifth pictures
of this series; but a closer examination will show
that there is considerable difference between them
and those in the Libreria. It is probable, there-
fore, that in these two sections Pinturicchio may
have allowed Raphael to make designs, and then
altered them himself before beginning the fres-
coes; that Raphael did not have anything to do
with the designs of the others, but that in com-
pany with several other students he may have
assisted for a short time in their execution. The
work was paid for in 1502.

\Ve may now turn to the pictures themselves,
which have Latin inscriptions under them.

(1.) [Eneas Silvius Piccolomini, born October
18, 1405, sets out for the Council of Basle in
company with Cardinal Capranica. He is driven
by the force of a storm on to the coast of Africa.

The picture shows the ships safe in harbour, a
dark storm-cloud passes away to the left, and
from it springs a rainbow. [Eneas is seated on a
white horse to the right of the picture; the figure

THE LIBRARY. 87

on the brown horse to the left is a portrait of
Raphael.

(2.) After the Council of Basle he is sent as
ambassador to the King of Scotland, whom he
reaches after being shipwrecked on the coast of
Norway. He then returns to Basle, eluding
the English spies.

The picture represents the venerable King of
Scotland seated on a throne, [Eneas is on the
right. In this fresco and in most of the re-
maining ones, it will be noticed that the golden
ornaments are for the most part raised, a trick
Pinturiechio might well have dispensed with, i
as not worthy of a true artist.

(3.) Eneas is sent by the Anti-Pope Felix V.
to the Emperor Frederic 111., who crowns him
with a golden crown, and makes him his secretary.

This section has suffered by the removal of a
tomb in the chapel behind it, and has a large
crack from top to bottom. Frederic sits to the
left, behind is seen a building common in the
Umbrian school, e. g. Perugino’s Sposalio.

(«1.) xEneas sent by Frederic 111. to Pope
Eugenius 111., not only makes peace with him,
but is chosen as his secretary, and later made
Bishop of Siena. -

(5.) ZEneas presents Eleanor of Portugal to
her future husband Frederic 111.

The meeting takes place outside the Porta

88 GUIDE TO SIENA.

Camollia ; behind are seen the towers of the town
and the cathedral, in Raphael’s design there are
only mountains. Pinturiechio has introduced an
anachronism in the pillar with the arms upon it,
which still stands outside the Porta Camellia, but
was erected in memory of this meeting. There
are some very beautiful female figures to the
right of the picture.

(6.) [Eneas sent as ambassador to Pope Calix-
tus III., receives from him the cardinal’s hat.

The scene lies in the Sistine Chapel; a careful
examination of the lower part of the picture will
show the introduction of some fresh stucco, the
original having been destroyed by earthquake.

(7.) On the death of Calixtus, [Eneas by open
voting is elected pope under the name of Pius II.

(8.) Pius II. holds an assembly at Mantua to
discuss a crusade against the Turks.

(9.) Pius II. canonizes St. Catherine of Siena.

The picture is divided into two parts; on a.
throne or platform sits Pius 'in act of canonizing
Catherine, who lies before him in her coffin
(actually an impossibility, for she had been some
time dead). Below, a crowd of monks and others
holding candles. There are two prominent figures
to the left, the first is the young Raphael, the
second with an unpleasing face is Pinturicchio,
next to him to the right with his back turned is
Dudine who seems in converse with a man in a

THE LIBRARY. 89

red biretta, Andrea del Sarto. The monk all in
white to the extreme right of the picture is
’ Fra Bartolomeo.

(10.) Pius II. at Ancona, whither he had gone
to lead a crusade against the Turks, and where
he died.

The roof and tiling of the floor are character-
istically Sienese. The wood-work is by Barili,
1496. The Risen Christ in bronze which stands
at one end is by Signorini, 1592. In the library
there is a very valuable collection of choral
books with exquisite miniatures; they amount
to seventy, and the best are the work of Libe-
rale da Verona, Girolamo da Cremona, Roselli
da Firenze, and Sano di Pietro.

Returning into the Church, immediately to one’s
right is a Risen Christ supported by Angels,
generally considered an early work of Michel
Angelo. Next to it is the tomb of the Picco-
lomini, carved in 1185 by Andrea Fusina da
Milano. Of the statues which adorn it, SS.
Peter, Gregory and James are attributed to
Michel Angelo, St. Francis t0 Torrigiani.

The first of the three remaining altars has a
good picture by Pietro :Sorri, showing very strong
marks of the influence of the Venetian school.

The last two are by Trevisiani; the first a
weak picture of Christ with His Disciples, some-
what after the manner of Caracci, the last

90 GUIDE TO SIENA.

some martyrdoms showing a certain amount of
vigour.

The right-hand benitier stands on an antique
heathen pillar. The upper part is by Giacomo
della Quercia, to whom the other one is also
attributed, but may be by his pupil Antonio
Federighi. The eels and whales swimming at
the bottom are a quaint conception.

We may now cast a look at the popes and
emperors who extend the whole length of the
central aisle, and together with the statues of
the Disciples placed half-way down the pillars,
add but little to the architectural effect.

The statue of Pope Marcello II. (Marcello
Cervini), 1555, is by Domenico Cafuggi.

The chief feature of the west wall is the rich
circular window, representing the Last Supper,
designed by Pierino del Vaga. Below it is a
gallery with has-reliefs of the life of the Virgin
by Urbano da Cortona, supported by two pillars,
carved in 1483.

The Baptz'stery.—VVe may now leave the Cathe-
dral by the south door, over which there is a
relief of a Virgin and Child of the school of
Giacomo della Quercia. Thence turning to the
left, one passes a beautiful Gothic arch belonging
to the unfinished building, and descends a sweep-
ing flight of steps designed in 1451 by Giovanni
Sabelli. We thus reach a small piazza in front

THE BAPTISTERY. 91

of San Giovanni Battistero. The Cathedral was
prolonged to this point by the brothers Agostino
and Agnolo of Siena, in 1302 ; but the decoration
of this facade is later, and may safely be attributed
to Giacomo di Mino di Pellicciaio, who drew the
designs in 1382. In front of the central door is
a piece of old niello work representing the rite of
Baptism.

Within, the chief object of interest is the font,
which was originally entrusted to Giacomo della
Quercia, but he dallied so long with the execution
of the work, and broke faith so often with the
directors of the Opera, that the work was mostly
done by other hands.

(1.) Zacharias leaving the Temple, by Giacomo
della Quercia, finally finished in 1428. _

(2.) Birth of St. John, by Turino di Sano,
finished in 1427.

(3.) Preaching of St. John, by Giovanni, son of
the above, executed in the same year.

(4.) Baptism of Christ.

(5.) St. John in Prison. These two were
finished in the year 1427, by Ghiberti.

(6.) The head of John the Baptist brought to
Herod, by Donatello, 1427.

Above, the Prophets with the Madonna are
probably by Giacomo della Quercia; Justice,
Charity, Prudence, and one Angel, by‘Giovanni
Turino; Fortitude, by Gore di N eroccio; Faith,

92 GUIDE TO SIENA.

Hope and the other Angels, by Donatello. The
figure of the Baptist at the top is probably by
Giacomo dell-a Quercia.

We may next turn our attention to the roof,
which has been decorated by painters of the
fifteenth century.

The section over the font, and the two on either
side, give us the articles of the Credo, by Michele
dei Lambertini da Bologna, 1447, and in 1450
Il Vecchietta painted the Twelve Apostles and
various patriarchs and allegorical figures on the
other three sections.

On the front wall to the right of the high altar
St. Paul, by Domenico Beccafunii, 1 315 (?)

In the lunette above, a fresco, a good deal
damaged, representing the Marriage of the
Virgin, attributed to I’acchiarotto, or Guasparre
d’Agostino.

On the high altar, a Baptism of Christ, by
Andrea Pucci, generally known as 11 Brescianino.
At the back, the Crucifixion and the Maries at
the Tomb are by Guasparre d’Agostino, 1451;
Christ Beaten, and Christ carrying His Cross, by
Benvenuto di Giovanni, 1453, to whom may be
attributed the upper saints 011 the external arch.

To the left of the high altar, the lunette of
the Miracles of St. Antony has almost entirely
perished.

From the Baptistery a short street leads back

PALAZZO MAGNIFIC'O. 93

into the Via Cavour, in it is the Palazzo Mag-
mlfico, built by Pandolfo Petrucci the tyrant,
from designs of Cozzarelli, 1504, to whom one
is also indebted for the beautiful bronze iron-
work on the facade. It was to decorate this
palace that he invited Genga da Urbino, Signo~
relli, and I’inturicchio to come to Siena; of their
frescoes two remain in the Belle Arti, and other
two are in the National Gallery in London.
Paiazzo Bindi-Sergardi, containing frescoes by
Domenico Beccafumi, representing scenes from
ancient history. It was on account of these that
he was invited to paint in the Palazzo Pubblico.

3‘

94 GUIDE TO SIENA.

CHAPTER V.
THE CATHEDRAL SQUARE.

RETURNING up the steps, one comes to the Opera
del Duomo, built up into the unfinished part of the
Cathedral. It consists of two galleries. As one
enters there is a small fresco representing the
head of Sant’ Ansano, by Riccio.

In the centre of the lower gallery stands a
group of the Graces, of the Grew-Roman period,
sent to Siena by Pope Pins 11.

The rest of the collection consists chiefly of
carvings from the facade of the Duomo ; one piece
of niello is particularly interesting, having been
executed on the back of another carving.

At the end is a painting of the Transfiguration,
which once covered the organ in the Cathedral; it
is generally thought to be the work of Mainardi,
of San Gimignano, a pupil of Ghirlandaio.

One then ascends the stairs, and enters a small
room devoted to designs for the niello of the
pavement. Those who are interested in Church
drapery will find many very fine specimens on this
floor, specially of piviali, and some very beautiful
works of the thirteenth and fourteenth centuries.

OPERA DEL DUOJIO. 95

The second room contains a small collection of
pictures.

011 the entrance wall 1—-

(11.) St. Gerome, by Giovanni di Paolo.

A collection of small pictures of the life of the _
Virgin and of Christ, removed from behind the
organ in the Cathedral, by Duccio, 1285—1320.

The life of Christ, and the history of the Cross,
by Taddeo Bartoli, 1330—1409.

A Virgin and Child, like the one by Coppo
Marcovaldo in the Servi, by Gregorio, signed
GREGORIUS DE SENIS PINXIT HOC MCOOCXXIII.

(63.) Virgin and Child with Saints, Pietro de
()rinoli, signed ANNI DOM MOCCCOXXIIIO.

(61.) Birth of the Virgin, Pietro Lorenzetti,
signed PETRUS LAURENTII DE SENIS PINXIT AM.
MCCCXLIIO.

Virgin and Child with the Evangelists, Matteo
di Giovanni, 149—0)

(71.) Madonna, of the Byzantine school, raised.

(76.) St. Antony, by Ambrogio Lorenzetti.

(14.) A Saint, Balducci.

Following along the side of the square is the
Palazzo Beale a della Provincia, a palace of the
sixteenth century, the abode of the Medici family
when in Siena, and celebrated as the scene of the
entertainment of many popes.

The huge block of buildings which begins at
the Via del Capitano and extends along the

96 GUIDE TO SIENA.

whole of the Piazza opposite the west front of the
Cathedral, reaching away far down the hill to the
back, is the Hospital of Santa, Maria della. Scala,
which is open to the public daily from 12 to 1.
One may enter at the door furthest on the right,
which leads into the hall of the Hospital, where the
eustode may be found. The Hospital dates from
832, and owes its foundation to a certain Beato
Sorore. At one time all the interior walls were
covered with frescoes, but towards the end of the
last century, the paint was considered bad for
infectious diseases, and the frescoes on most of
the walls were obliterated by a deluge of white-
wash. In the vestibule, Domenico Beeeafumi
painted a Visitation in 151:! which still remains
perfect. On the walls there are remnants of
frescoes which some attribute to Lorenzetti.
The decorations of the roof were the work of
Bindoceio, as a nearly obliterated inscription on
the first arch tells us.

Turning to the left one enters the Church, and
immediately to the right are some fine tombs.
That of Bishop Tonde is attributed to Cozzarelli.
This Church was built in 1252 and enlarged in
1466 by designs of Guidoceio d’Andrea; the
carved wooden ceiling is very fine.

0n the right side :—
(1.) Assumption of the Virgin, by Pietro Locatelli of Rome,
signed PETRUS LtCATELLUs, 1676.

THE HOSPITAL. 97

(2.) A small chapel. On the back wall. Saints by Segna
di Buonaventura (2’). The frescoes from the life of the Virgin

are by Nassini.

(3.) Christ on the Cross, Sienese school of fourteenth cen—
tury.
(1.) The decorations of the organ are by Baldassare

Peruzzi.
(5.) Sacristy. The panel paintings by Lorenzo di Pietro,

Il Vecchielta, 1455. The Angels by some pupil of Sansavino

and Mazzuoli.
At the east end. On the altar, a Risen Christ, by Vecehietta,

inscribed “ Laurentius Petri pietor alias Vecchietta de Senis

pro sua divozione fecit hoc opus, 1476.”

Behind, a large fresco of the Pool of Bethesda, by Conca, a
Neapolitian pupil of Francesco Vanni, 1732.

Left side :—

(2.) St. Theresa, Ciro Ferri.

(1.) Annunciation, Giovanni Maria Morandi.

Returning through the vestibule, one next
enters the Hospital. The chief frescoes are in
the men’s ward, known as the Pelligrinario.
The lunette facing one as one enters bears the
name LAURENTIUS, and is thus probably by
Vecchietta.

The frescoes on the walls relate more or less to
the history of the Hospital, and are the work of
Domenico Bartoli and his pupils :—

(1.) Marriage of girls,

(2.) Almsgiving, Domenico Bartoli, 1440.

(3.) Government of the Patients,

(4.) Payment of Nurses in money, }by Giovanni Neveri and

(5.) Payment of Nurses 1n klnd, Pietro Crogi.

H

98 GUIDE TO SIENA.

(6.) Privilege of Exemption from the Government of the
Canons granted by Celestine IIL, Domenico Bartoli, 1MB.

(7.) Entrance of the Hospital, Priamo di Pietro della
Quercia.

(8.) Alms of the Bishop for the enlargement of the HOSpital,
Domenico Bartoli, 1443.

The vaulting was frescoed in 1439, Gnaltieri
di Giovanni. In the ward dedicated to St. Peter,
the Virgin covering the Sienese with her mantle,
Domenico di Bartoli. In the women’s ward,
dedicated to San Galgano, a Christ upon the
Cross, generally attributed to Griotto, but actually
painted by Taddeo Bartolo. In the little chapel
at the end, the head of a virgin by some pupil
of Memmi, and the fragments of other frescoes
of the fifteenth century.

We now leave the Hospital and follow the
passage leading down from the door furthest to
the left. We thus reach a little dark chapel
known as Santa Catarina deZZa Notte, where
Catherine of Siena resorted to pray when work-
ing at the Hospital. It is rarely open. In the
sacristy is a Virgin and Child enthroned, with
angels round; on the right the Baptist and on
the left St. Andrew, by Taddeo Bartolo, signed
“ Tadeus Bartoli de Senis pinxit hoe opus a.d.
mille ccec. . . .”

A flight of stairs to the left leads down to
the Chapel of the Madonna soito [e Volta dello
Specials; the altar-piece is by Casolani.

THE CHAPEL UNDER THE HOSPITAL. 99

In the saeristy, over the door a Sibyl, then a
Virgin and Child, by one of the Lorenzetti.

St. John the Baptist, Giovanni di Paolo.

To the left is a small chamber covered With
frescoes representing Paradise and Isaiah and
Jeremiah, by Ambrogio Lorenzetti.

Opposite this chapel is the Devoto Buca dei
Flagellanti, which now serves as a diploma gal-
lery for Sienese artists, and also contains a small
but very beautiful collection of Old Masters. It
is open to the public on Thursdays and Saturdays
from 10 to 1.

(1.) Adoration of the Cross, by Matteo di Giovanni.

(2.) A Reliquary, with paintings of the Crucifixion and
other events of the Passion, by Bernardino Fungai.

(3.) Virgin and Child, with St. Peter and St. Paul, an
exquisite work by Lippo Memmi.

(4.) St. Eustacio, by Sano di Pietro.

On the front wall :—

(1.) Eterno Padre, Virgin, Crucifixion, by Sano di Pietro and
Mino di Ferrati.

(2.) A triptych, in antique style, by Andrea Pucinelli, I1
Brescianino, a pupil of Sodoma.

(3.) Crucifixion, Duccio di Buoninsegna.

(4.) In the centre of the wall, Virgin and Child, by Sodoma,
like the one in the Borghese at Rome.

(5, G.) On either side of it, a Madonna With Saints, by Matteo
di Giovanni, signed 1494.

(7.) l\Indonna:1nd Saints, Lorenzetti.

(8.) Crucifixion, Spinello Aretino.

(9.) Lunette. The Return ofthe Pope from Avignon in 1377,
by Benvenuto dcl Guasta.

On the opposite wall, pictures by Maccari and other modern
Sienese painters; the two busts are by Barbato Cipriani.

H2

100 GUIDE TO SIENA.

The Palazzo Arcivescovale fills up the other
side of the Cathedral Square, a handsome build-
ing of 1723; the old one is now occupied by the
Sordo-Muti. Three Sienese bishops have reached
the Papacy and six obtained cardinals’ hats.

Passing down the slope to the right of the
Hospital one comes to the little cruciform church,
Deglz' Imzocenti, containing pictures of the later
period of Sienese art. In the monastery of
Monn ’Agnese adjoining, is a Last Supper by
Riccio and a St. Christopher by Beccafumi,

(" '10’1‘”)

CHAPTER VI.
CASTEL VECCHIO TO s'r. CHRISTOPHER.

WE may now start afresh from the Piazza del
Duomo, following the Via del Capitano. 0n the
right is a very large palace where the Capitano
of Siena used to live. In 1457 it was sold to
Tonnnaso Pecci and thence passed to the Gro-
tanelli. In 1854 the exterior was restored to its
primitive form by Giulio Rossi, and the interior
is still being worked upon. The courtyard is
very fine, and the stairs leading up to the main
entrance, though quite plain, a little suggest the
entrance to Christ Church Hall at Oxford.

At the end of the street is the little Piazza di
Postierla, in which is a pillar with the wolf and
twins, erected in 1487. Crossing this, one enters
the Via di San Pietro, and immediately to the
left is a Virgin and Child with an ornate border
by Luca della Robbia. Passing up the street fur-
ther to the left is the Palazzo Buonsz'gnom', built
in the fourteenth century in the Sienese Gothic
style, and restored in 1848. When the street
turns, the little church on the left is San Pietro
and Sam Paolo. On the high altar is a picture

102 i i ‘ GUIDE TO SIENA.

of the Repose in Egypt, signed “ Rutilius de
Manettius pinxit 1621 ”; one of his best pictures,
in style very like Michelangelo Caravaggio. The
predella has little pictures of fifteenth century.
Following the Via della Murella, one soon reaches
the Via Tommaso Pendola, so called in memory of
a priest who devoted most of his life to the deaf
and dumb. The buildings of the establishment
. are on either side of the street. The stranger
who is eager to see it will find every civility
shown him. Apart from the general interest in
the institution, there are some good pictures in the
older building. In the refectory a Last Supper of
the fifteenth century, and above, three lunettes of
the Agony in the Garden, the Betrayal by Judas,
and the Crucifixion, by Benvenuto di Giovanni.
The pictures in the chapel are not worth much;
but the Virgin and Child by Buonfigli in the
sacristy is interesting.

Turning to the right one comes to San Quirz'co,
one of the oldest churches in Siena, said to have
been founded on the site of a Temple of Quirinus.
The earliest record speaks of it as a parishvchurch
in 1197. Within, all the pictures are of the
decadence period, but good of their kind :—

The Crowning with Thorns, the Fall of Christ, and the Ex-
pulsion of the Rebel Angels, on the roof, by Pietro Sorri; the
Dead Christ between the Maries, painted in 1589, by Caselani;
on either side of the altar, frescoes of the Martyrdom of San

CARMINE. 301

Quirico and San Giulitta, by Ventura Salimbeni, 1603; the
Angel with Mary at the Tomb is also his; the Flight into
Egypt, and the Virgin and Child, by Francesco Vanni.

Turning back, one passes the little church known
as the Cappella dei Careeri di Sumt’ Ansa‘no. This
part of the town, which is known as Castel Vecchio,
is the oldest part of Siena, and it was here that
Sant’ Ansano was imprisoned before his martyrdom.
There is one fresco on the left wall dating from
1499, the other pictures are by Rustichino, &0.

One passes down a slight incline, and thus
emerges at the end of Piazza Baldassare Peruzzi.
A small street in front, which leads down to the
Porta San Marco, bears the name of Via Diana.
In it is the famous well of so great depth as to
become proverbial. Dante speaks of “Piu di
speranza che a trovar la Diane.”

To the right is the Church of the Carmine.
The earliest date connected with it is 779, when
it was in possession of the hermits. It owes its
present form, its campanile and its Cloisters, to
Baldassare Peruzzi. These latter now serve as
a barrack, and the somewhat inferior frescoes
of Nassini are rapidly being destroyed. One
generally enters by the small door at the east
end, a good kick at which will attract the custode.

*(l.) The Nativity, begun by Riccio and finished by
Arcangelo Salimbeni.

(2.) Some pictures by Francesco Vanni, around a Virgin
and Child of thirteenth century.

104 GUIDE TO SIENA.

(3.) Il Beato Franco, by Rutilio Manetti.

*(4.) An Ascension, by Paechiarotto, showing the strong
influence of the Umbrian school.

(5.) The Chapel of the Holy Sacrament. Over the door a
Virgin and Child, possibly by Giacomo di Mino. Within, over
the altar, *Birth of the Virgin, by Sodoma.

There is little to detain one in the choir or sacristy.

North wall :—

*(5.) St. Michael and the Rebel Angels, by Domenico Becca-
fumi, Il Meccarino, which it is interesting to compare with a
similar picture by him in the Belle Arti.

(3.) A Martyrdom of St. Bartholomew, by Casolani.

Following the Via della Cerchia one reaches
an open space with an extensive View. To the
right is Sant’ Agostino, a convent church dating
from 1258, restored in 1755 ; the convent is now a
Government school.

(1.) The Last Sacrament of St. Jerome, treated in much the
same way as Domenichino’s in the Vatican, by Astolfo Petrazzi.

*(2.) A Crucifixion, by Perugino, which has rather suffered
from restoration, but is a picture of his better period.

(3.) Chapel of the Sacrament. A statue of Pins 11., by the
Florentine Dupre, who died in 1882. To the right a ghastly
picture of the *Massacre of the Innocents, by Matteo (li Giovanni,
a favourite subject of his; it is signed Opts MATTEI IOHASNIS
MCCCCLXXXII. There is a similar one by him in the Servi; the
head of Herod a little suggests some of Quentin Matsys.

On the altar *The Adoration of the Magi, by Sodoma, in
Leonardo’s style, fails more than many of his in composition,
1536 (‘2’).

(4.) The Fall of Christ, begun by Casolani and finished by
Yentura Salinibeni.

In one of the chapels of the south aisle :1 St. Christopher, by
Giacomo della Quereia; in another, Salus infirmorum et refugiinn
pecentorum, by Bruni, 1853.

SANT’ AGOSTINO. 105

In the choir there hangs a picture of St. Agostino Novello
with the events of his life around him, generally attributed to
Lippo Memmi, but much more in the style of Lippo Vanni.

*In the chapel nearest the north wall there is a picture of
St. Antony tempted by the Devil, who has removed his bell and
spectacles, the latter of which he is wearing; a good picture,
by many thought to be by Ribiera Il Spagnoletto, though very
likely a fine work of Rutilio Manetti.

North wall :—

(4.) St. Augustine and other Saints, 1600, signed PETRL‘S

seams SENS PINT.
(3.) Baptism of Constantine, 1587, Francesco Vanni, with

reminiscences of the one in the Vatican.

(2.) Conception, by Maratta, 1671.

(1.) Presepc, Romanelli di Viterbo.

The little church opposite is dedicated to Sam
Crispino, but generally goes by the name of Santa

Musta'ola.

(1.) On the first altar there is a good picture of the Virgin
with Saints, by some immediate pupil of Sodoma, probably
Giorno di Bergamino. _

(2.) The Martyrdom of the Saint, with a date 1608, probably
from Astolfo Petrazzi’s studio.

In the choir is a picture in thin colours, of the Virgin
between St. Crispin and St. Crispinian, painted in 1510 by
Niccolo, a pupil of Matteo di Giovanni, who keeps much of his
master’s style.

At the side of the church is the Museo dei
Fiseratici, where the geology of the neighbour-
hood may be studied.

From this point the road leads down past St.
Maria Maddelena to the Porta Tufi, outside of
which is the big Cemetery, whence there is a good
View. The quasi-Egyptian building of the lower

106 GUIDE TO SIENA.

vaults is good, and there are two monuments
worth seeing, a Pieta by Dupre, and Ezekiel’s
Vision of the Dry Bones. ‘

Continuing from Sant’ Agostino, the road turns
at the little cruciform church of San Giuseppe,
probably designed by Riecio. Thence, following
to the left the Via Giovanni Dupre, one is again
in the big Piazza. This time crossing in front
of the Palazzo Pubblico, and taking the second
street to the right, one soon reaches Sam Martino,
which was consecrated in 1460 by Plus 11., the
facade is later and dates from 1613. Within, the
Church is a little dark.

On the west wall there is a picture of the Madonna delle
Grazie suceouring the Sicncsc in a battle against the Florentines
outside the Porta Camellia in the year 1526, the painter Cini
took part in it. On the walls of the south nave (1) *A good
picture by Gambarelli, others say Taducci; (2) Circumcision,
Guido Reni; (3) Martyrdom of St. Bartholomew, by Guercino,
very much repainted. *Round this and the opposite altar there
is some very handsome work by Marrina. In the choir there
are some figures of gilded wood attributed to La Quercia.
The glass of the window is by Turini, and represents St.
Martin on horseback. In the north nave *(3) a Presepe, by
Beecafumi, with one very sweet angel’s face; (1) St. Ivon, by
Raphael Vanni. The Church suffered a great deal from the
earthquake at the end of the eighteenth century.

Leaving the Church, to one’s right as one
stands on the steps is the Loggia del Papa, built
by Federighi, in 1460, at the expense of Pius 11.,
Eneas Silvius Piccolomini, who erected it genti-

SAN GIROLAMO. 107

films sm's. Returning into the Via San Martino,
one passes the buildings of the Confraternity of
the Misericordia, containing one or two small
pictures by Beccafumi and a statue of St. An-
tony attributed to Giacomo della Quercia.

Beyond, down a small street to the right is the
Chapel ofthe Contrada of the Tower, with an old
picture said to have gone to Montaperto, and a
fresco of Sodoma’s Christ with the Cross in the
sacristy.

At the end of the street, and a little below it
to the right, is the Convent and School of San
Gz'a'olamo, With a very pretty little chapel, Where
on Sunday afternoons is the only good singing in
Siena. One rings at the door to the left of the
chapel, and in a recess in the hall, a very fine
fresco of the *Assumption of the Virgin, and on
the arch round, Saints, by Girolamo del Guasta.
\Vithin the Convent a Crucifixion and a St. Jerome
by Sano di Pietro.

In the chapel the pictures of the south wall are inferior; on
the high altar the Death of St. Jerome by Domenico Mauetti. 0f
the two pictures of Christ with St. Catherine, the one on theright
is by Francesco Vanni, that on the left by Casolani. The door to
the right leads into the sacristy, where there is a Coronation of
the Virgin by 83110 di Pietro, and a remarkable picture of the
Assumption with various saints, painted by some one of the Sienese
school in 1487, thought by some to be a very early work of
Pacchiarotto, but as he was only thirteen then it is not probable.

Returning into the Church, on the floor of the nave in front
of the high altar, a marble tomb with a recumbent figure of the

108 a UIDE TO SIENA.

Bishop Antonio *Bettini of Foligno, by Cozzarelli, 1487. On
the north wall (3) *Somc very beautiful marble work by
Marrina, round a Virgin and Child by Giuliano da Firenze;
(2) On the vaulting over this altar, St. Jerome and two other
saints, by Pacchiarotto; (1) A damaged picture by Brescianino.
a pupil of Sodoma ; the little pictures are by Manetti, Franci,
and Petrazzi.

A l o the right of the church a road rises
to the hurch of the Semi (Zz' Maria, also known
as the SS. Concezione. It was built in 1471—1528
either from designs of Peruzzi or of Turapille.
To the right on entering, there is a slab which
tells of its consecration in May 1533, and then
a chapel to St. Joseph, containing a pretty
picture of the Birth of Christ, by Casolani. On
the south wall are the remains of a fresco known
as the Madonna delle Anime, by M. Gregorio.

(1.) On the first altar, a Virgin and Child in
Byzantine style. Madonna de Bordone, painted
by a Florentine, Coppo Marcobaldo, 1261. On
either side of it are two little pictures of St.
Catherine and St. Boo, by Sodoma.

(2.) The Birth of the Virgin, by Butilio Manetti.

(3.) A production in yellow ochre, by Ugolino
of Bologna.

(4.) *The altar-piece a Massacre of the In-
nocents. If possible, Matteo di Siena has intro-
duced more hideous and distorted faces than in
the other picture. It is signed OPUS MATTEI
IOHANNE DE SENIS, 1491. The lunette above,

sue VI DI MARIA. 109

the Birth of Christ, by Berna, Whose chief works
may be seen at San Gimignano and in the
Latoran at Rome. Further above, a Nativity, by
Taddeo Bartolo. One thus reaches the transept,
where there is a marble sarcophagus, containing
the still perfect body of Francesco P izi, a
wonder-working saint of the order of *ervi,
those who wish for further details of his 6 may
find them on the right of the chapel. Over the
door of the sacristy is *The Madonna del Popolo,
a very good little work of Lippo Memmi. In the
sacristy, let into the panels, the busts of Francesco
Patrizi and Piccolomini by Pacchia, which are
pleasing, though the hands are clumsy.

The two chapels of the north transept in the
Church contain nothing of value, and one may
pass on to the choir, Where the high altar of
stone is the work of Giovantonio Mazzuoli, 1698.
*On the east wall Fungai has painted a Coronation
of the Virgin on the light-blue ground he loves
so well; the companion to it, the Assumption of
the Virgin, will be found in Fontegiusta. The
two pictures on the side walls, of the Annuncia-
tion, are by Francesco Vanni. At the back of the
altar has been placed the *Madonna del Manto, a
virgin sheltering the people of Siena under a
long red cloak which has been very much re-
painted, the name of the painter and the date are
also obviously posthumous works, OPUS IOHANNIS

110 GUIDE TO SIENA.

DE PETRI MCCCCXXXVI, and possibly the picture
may be by Ansano Lorenzetti, to whom it was
originally attributed.

Passing into the north transept, the pictures of
the first chapel are by the Nassini, in the next
one there is *a gaunt figure of Christ on the Cross,
by Stefano di Giovanni, commonly known as
Sassetta; the painting is in the style of Margari-
tone d’Arezzo. The little picture of the Trinity
at the side is by Salimbeni. At the end of the
transept is the chapel of Giovacchino Piccolomini,
containing a picture by Rutilio Manetti.

Turning thence down the north nave the
pictures are by—

(5.) Montorselli.

(4.) Raphael Vanni.

(3.) Nassini.

(2.) In the centre of some drapery a little pic-
ture covered, a Virgin and Child, with exquisite
gold work about it, known as the *Madonna del
Belvedere, painted in 1363 by Giacomo di Mino
del Pellieciaio. To the right and left St. Joseph
and St. Mary Magdalen, by Matteo di Giovanni.

(1.) Raphael Vanni.

At the back of this church there is another,
dedicated to the Holy Trinity (the key is kept at
No. 14, Via dei Servi). It is painted all over
inside, and those who are interested in the
Sienese painters of the decadence period wil

O

REFUGIO. 111

find plenty of opportunity for studying Nassini
and Ventura Salimbeni.

Descending the little hill, one is in the Via
Romano opposite the Monastel y of Santuccw, which
contains pictu1es of much the same stamp, with
the exception of one small one by Pinturicchio.
Turning to the right, one passes the lunatic
asylum—in the chapel dedicated to San Niccolo are
four square slabs let into the wall representing
the Four Evan gelists, which, from the expression in
the faces, may safely be attributed to Luca della
Robbia—and soon reaches the Porta Romana built
in 1327, the fresco on the outside was begun by
Taddeo Bartolo and finished by Sano di Pietro. '

Turning again up the Via Romana, and walking
a short distance, one comes to a gap on the right,
below which stands the Church of the Refugio.
The Church was founded by Aurelio Chigi in 1598,
Alexander VII. had built the marble facade,
good specimen of Renaissance architecture by
Giovannelli.

On the first altar to the right a Marriage of St. Catherine, by
Francesco Vanni, often considered his chef d'oeuvre. The Birth
of Christ on the high altar was begun by Casolani and finished
by Francesco Vanni and Ventura Salimbeni. On the altar t0
the left St. Galgano, by Francesco Vanni, 1607, and Ventura
Salimheni. The smaller pictures are of about the same date,
by Rutilio Manetti, l’etrazzi, &c.

The institution at the side contains a Virgin
and Child, by Matteo di Siena. On leaving the

112 G UIDE T0 SIENA.

Church one asses a alace of San Galvano built
’ P D ,

in 1474, and one soon comes to a pillar with the
wolf and twins, erected in 1470, and to the left a
fountain of the year 1221. The read now passes
under the old gate of St. Maurizio, over the inside
of which is frescoed the Trinity, and some saints
by Capitelli. Hence forward the street is called
Via Ricasoli. To the right, the Via dei Pispini
leads one to the gate of that name. A short way
down the street on a small terrace to the left is
the Church of San sz'rz'zfo.

The Church dates from 1345, and from 1448
belonged to the Dominicans; the cupola was built
at the expense of the much execrated Pandolfo
Petrucci in 1504, and the portal was added in
1519, from designs of Baldassare Peruzzi and
Jerome Piccolomini, who had so much influence
on the buildings of Pienza.

(1.) *To the right of the entrance is the Spanish chapel,
dedicated to St. James, the, Spaniards’ patron saint. In the
lunette above is seen St. James riding on a splendid white horse
over sundry Turks, infidels and other heretics who are lying
flat beneath him, one of Sodonia’s most spirited pictures, 1530.
Below he has painted St. Antony, St. Sebastian, the Virgin and
Sant’ Alfonso. To the right, behind an iron grating, a k’rescpe
in terra cotta, by Ambrogio della Robbia, 1504.

(3.) The frescoes on the vaulting are by Sodofna.

(5.) Feebly coloured frescoes of the life and miracles of St.
Hyacinth, by Ventnra Salimbeni. To the left, Christ on the
Cross, by Sane di Pietro, and a very old Byzantine head of Christ

inscribed RESPICE FACIEM XTI. TL'I. Below is a door leading
into a passage. The first door on the left takes one into a

SAN GIORGIO. 113

small cloister at the end of which is a Crucifixion, a feeble work
by Era Paolino di Bologna, a pupil of Fra Bartolomeo, 1516.
In the sacristy a Coronation of the Virgin, by Beceafumi. Re-
entering the Church, behind the altar a large fresco of the
Descent of the Holy Ghost, by Nassini; before it two good
niello tombs with recumbent figures of Spanish knights.

(3.) *In the third chapel on the north side a Coronation of
the Virgin, rightly attributed to Paeehia, though others say to
Pacehiurotto.

(1.) *On the right wall, a very beautiful picture of the Assump-
tion of the Virgin, with SS. Francis and Catherine, by Balducci
di Citta dclla Pieve. There has been great Confusion in several
books between this picture and the one on the third altar, and
thus it has been attributed to different people.

Returning along the Via Ricasoli, on the right
is San Giorgio, an old church, known to have
existed in 1181; it was rebuilt in 1741 by Arch—
bishop Zondadari from designs of Cremoni.

On the wall to the right of the door is a marble tablet, halt
carved half painted, in memory of the artist Francesco Vanni;
the work is by his son Michelangelo. It is the best church for
the Vanni and their school. On the high altar the Vision of
St. George, by Conca, a Neapolitan pupil of Francesco. The
picture of St. Philip, and the Fall of Christ (1656) are by Raphael
Vanni. the latter is considered his best work. *The Crucifixion
is by Francesco, and has his portrait in the right-hand corner ;
the figure of Christ is very good. At the back of the Church
is a tall brick tower erected after the battle of Montaperto,
the thirty-six windows represent the different Contrade. Tile
Martinella, the big bell which adorned the Carroccio in the
battle is supposed to be there, but this is doubtful.

Following the Via Ricasoli, one passes some
palaces, and then the first street to the right
leads to the little Church of St. John the Baptist.

I

114 GUIDE TO 5mm.

Within, the walls are covered with big pictures of
the decadence school, in a bad condition. The
best are on the left :—(5) John preaching in the
Desert; (2) The Birth of St. John, by Rutilio
Mnnetti; (A) John in the Desert, Astelfo Pe-
trazzi. 0n the right, Death of John, Manetti. On
the altar of the chapel beyond. is a small picture
by Sane di Pietro, and to the left, a Beheading of
John, by Arenngelo Salimbeni.

One may now follow the Tin Snllnstio Bandini,
passing the two palaces of Bandini Pieeolomini,
and Bundini, which command a splendid view
over the country. In a lnnette to the left, some
saints, much destroyed, by Benvenuto. »

Opposite, to the left, is the University, and
the Church of San Vz'yz'h'o, which dates from the
year 1000.

“'ithin there is a variety of marble work, and the roof is
covered with pictures by lnphael Vanni, but the paintings in
the Church are of little value. The best is St. Louis, to the left of
the high altar, by Francesco Vanni. In the third chapel to the
right, three good bronze figures of the founders of the Gesuiti,
Gesuati and Conventi, by Bernino. Beside them the tomb of
Marcello Biringucci’o, by Bartolomeo Mazzuoli. On the altar
there is a very beautiful inlaid ciborium. *1n the third altar to
the left a. silver crucifix by Lorenzo di Pietrokll Vecehietta.

Below it is the Oratorio deglz' Artvz'sti. Following
the street in front, Via del Re, one emerges in

the Via Carour at the little Church of St. Chris-
topher. The date of its building is not known,

SAN CRISTOFANO. 115

but from the year 1100 to 1221 the Council
of the Republic met here. It was the scene of
the animated debate before the battle of Mont-
aperto, and the pillar in front of it, in 1620,
with the wolf and twins by Domenico Cavedone,
was erected in memory. The Church was com-
pletely restored in 1800; the carvings in the
Church are by Giovantonio Mazzuoli. *On the
altar to the left, a Virgin and Child beneath a
canopy, with St. Raimond and St. Luke at the
side; a very fine picture, in Raphaelesque style,
by Paechia. To the right of the altar there is a
small picture of St. Christopher on a gold ground,
of the fourteenth century, possibly by Martino
da Mariano.

Opposite the Church rises the Palazzo Tolemei,
built in 1205, and still in possession of the Tolemei
family, who are best known to fame through Pia
dei Tolemei, who is mentioned in Purg. v. 134 :—

Ricordati di me ehe son 1a Pia
Siena mi fe, disfecemi 1a Maremma.

I2

116 GUIDE TO SIENA.

CHAPTER VII.

ST. FRANCIS AND ST. BERNARDINO.

ONE may start afresh from San Christofano,
go down the Via del Re, and turning again into
the Via Sallustio Bandini, keep to the left and a
street leads to the Church of the Provenzano,
the second church in Siena, with a canonry, but
not very attractive. It was built in 1594’ from
designs of Schifardini.

Within, the big picture on the right, of the Vision of Cerbe-
nius, is by Rutilio Manctti; the picture in the right transept
by Rustiehino; the Martyrdom of St. Lawrence on the left by
Montorselli. The other pictures on the walls are of this century,
by Bruni and Boschi.

Following the road to the left of the Church,
one reaches Via del Giglio, and again turning to
the left one shortly reaches San Pietro Ovile.

\Vithin, the frescoes of the life of St. Peterare by Nassini. On
the right wall is a very good Annunciation, by Lorenzetti, like
the one in the Belle Arti. Opposite, a Virgin and Child, with
John the Baptist and St. Bernardino, by Giovanni di Paolo.
Over the door hangs a Christ on the Cross, of the 01d Sienese
school. The two figures on either side of the cross on the left
altar are by Lorenzo di Pietro, Il Vecchietta.

ORATORY OF SAN BERNARDINO. 117

On leaving the Church one goes straight into
the Via dei Rossi, and then turns to the right,
thus reaching the Piazza San Francesco. On the
right is the Oratory of St. Bernardz'no, 1583.
The custode is generally there, but if not, a boy
fetches him. Oneenters into a lower chapel, where
the lunettes show one the life of St. Bernardino,
painted by Burberini, Manetti, Gambarelli, Salim-
beni. The fresco on the roof is by Francesco
Vanni or Cini. On the altar is a very good pic-
ture of a Virgin and Saints, possibly by Andrea
Puccinelli, Il Brescianino. One then goes up-
stairs. In the anteroom an old carving of a
Virgin and Child, inscribed THOS. MAGISTRI AGOS-
TINO DE SENIS ME FECIT. A door to the right
leads into the principal chapel. It contains the
richest collection of the best Sienese painters.

On the right wall, St. Francis, by Sodoma.
This and all his other works here were executed
between 1518 and 1532.

(2.) An Assumption of the Virgin, in the style
of Leonardo, Sodoma.

(3.) The Death of the Virgin, rather confused
and dim, by Domenico Beccafumi, painted in
1518.

(4.) Visitation of Elizabeth.

(5.) St. Antony. Both by Sodoma.

On the east wall there are three pictures
divided by ornamental Sienese work. In the

118 GUIDE TO SIENA.

centre, Virgin and Saints, painted in 1527 by
Domenico Beccafumi. On either side the An-
nunciation, by Girolamo del Pacehia, 1518.

On the left wall :—

(5.) St. Bernardino, by Girolamo del Pacchia.

(4.) Marriage of the Virgin, Domenico Becca-
fumi. -

(3.) Presentation in the Temple, Sodcma.

(2.) Birth of the Virgin, which in some ways
reminds one of Ghirlandaio’s picture in Santa
Maria Novella at Florence. Most authorities
agree in attributing it to Girolamo del Pacchia.
Hare and others say Pacchiarotto.

On the west wall, the Coronation of the Virgin,
by Sodoma. It is an unusual treatment of the
subject as the scene is laid entirely in heaven.
The decoration of the ceiling was done by
Turapilli, 1496.

In the little room beyond there is a Church
banner of the Virgin, by Sodoma, in a bad state
of repair; and a Procession of the Relics of San
Bernardino, with a date A.D. MDCIX.

San Bemardz'no is the favourite male saint of
the Sienese, with whose tablet so many of the
houses are adorned. He was born at Massa in
1380, and died at Aquila in the Abruzzi in 1444,
being canonized by Pope Niccolas in 1483. At
the age of seventeen he devoted himself to the
care of the sick, and seven years later joined the

SAN BERNARDINO. 119

Franciscan order, in which he became distin-
guished as a great preacher, doing much to
curtail the luxury of the times and to heal the
political feuds of Guelf and Ghibelline. He
declined all ecclesiastical preferment, and after
founding the reformed order of Franciscans known
as the Osservanti,devoted his life to missionary
journeys in Italy and Switzerland. In the latter
country he seems to have given vent to Protest-
ant sentiments, a fact which either never reached
the ears of the Pope, or else the Catholic Church
was content to accept him on his general merits
and suppress these aberrations in one so useful.
Siena was the chief field of his labours, and it is
here that we have so many representations of
him.

In the art of the town he forms a particularly
striking feature, being the one saint who may
be recognised by his face as well as by his
emblems. He is always represented with a tall
slender and emaciated figure, fine cut features,
with hollow sunken cheeks and a pinched appear—
ance about the whole face. The most exact
portrait is by Pietro di Giovanni in the Belle Arti,
those by Sano di Pietro abound, and at the
Osservanza Luca della Robbia has left a bas-
relief of him in his Coronation of the Virgin.

As one leaves the oratory, a door on the right
lets one into the cloister of San Francesco. On

120 GUIDE TO SIENA.

the right wall the remains of a fresco of a Virgin
and Child, by Ambrogio Lorenzetti. Walking
along beside the wall of the Church one comes to
a short flight of steps leading 11p to a side door.
These have a strange history. Under them lie
the bodies of eighteen Tolomei who were poisoned
by the Piccolomini at a feast at Colle Mala-
merenda. The carving against the wall formed
the entrance to the tomb of the Petroni. A
little further a door leads into the Archbishop’s
seminary, the old convent having been converted
into a school. Within there is a fair library,
chiefly of theological works. From the artistic
point of view there are also a few things to
look at. At the entrance at has-relief of the
Madonna, by Cozzarelli; in the refectory some
fragments of fresco, and in the beautiful little
inner Cloister some pieces of old carving.

The sacristy of the Church serves as the school
chapel. Over the high altar at very lovely Virgin
and Child, generally attributed to Ambrogio
Lorenzetti; a good copy will be found at
Vienna. On the left wall a fresco of four saints,
by Luca Theme.

\\ 6 may now turn to the Chmeh itself, Whith
up till 1236 was dedicated to St. Peter; in this
year it. came into the hands of the Franciscans.
The present building was probably designed by
Agostino and Agnolo, but in 1482 altered by

l SAN FRANCESCO. 121

Francesco di Giorgio. The intention of covering
the facade with marble was never fully carried
out. Over the door is a statue of St. Francis, by
Ramo di Paganello, 1280. This splendid Church
suffered severely from fire in 1655, and since then
has been put to many base uses to the detriment
of the works of art it contained. The Gothic
windows were all blocked up, and nothing but
square apertures left; however, in 1882, the
Sienese began to restore it, and it may be hoped
that before long it will be seen in its primitive
form.

The great part of the pictures are now\ in the
Belle Arti, but there is still much worth seeing.

All round the nave hang the vast compositions
of Nassini, representing the Litany of the Last
Four Things, which were originally painted for
the Pitti at Florence.

By the side of the first two altars are some
frescoes, brought to light in 1883, probably by
Lorenzetti, an Annunciation, St. Francis receiving
the Stigmata, and at the sides 88. Gherardo,
Margaret and Catherine of Alexandria, the last
a wonderfully beautiful figure.

Passing up the Church, in a chapel to the right
of the high altar, is the tomb DSIO CRISTOFORO
FELICIO EQUITI MCCCCLXII, by Urbano di Pietro
da Cortona, 1486.

In the first and third chapels to the left of the

122 ' GUIDE TO SIEA'A.

high altar, some very interesting frescoes by
Ambrogio Lorenzetti :—

(1.) A Crucifixion. The head of Christ is
bowed, “It is finished”; around the cross fly
angels, expressive of the deepest grief; to tie
left below, St. John and the Maries; to the right,
the mocking Jews. For devotional fervour and for
pathos this picture has never been surpassed. In
the next chapel, St. Francis obtaining the ratifica-
tion of his order from Pope Innocent III. in 1314.
The expression of the faces is wonderful, and the
effect finer than the fresco that treats of the same
subject by one of Giotto’s pupils at Assisi.

Opposite, the martyrdmn of some Franciscans
in Asia, strange garbs and hideous faces, and the
painting so coarse as to suggest another hand;
Professor Colvin attributes it to Pietro Iiorenzetti.

In the chapels of St. Andrew and Salomea,
some Sienese tiling, designed by Francesco di
Giorgio.

In the Piccolomini chapel some grafliti of the
Cardinal Virtues, designed by Pacchiarotto, and
executed by Marrina in 1504.

In making some excavations to the east of
the Church some very fine ancient pottery was
discovered.

To reach the Oratorio of Sam Glzemrdo one
generally enters by a door to the left of the
Church. In the little Cloister is a Crucifixion,

PALACES. 123

much repainted, possibly by Benvenuto or Gui-
doccio Cozzarelli.

The custode has an inventive genius, and
suggests such names as he thinks likely to inspire
the stranger with admiration. The chief interest
of these chapels is the tombs of the Piccolomini.
In the larger one the Death of St. Louis, a lunette
by Astolfo Petrazzi, painted in 1635, who with
Nassini and Mazzuoli painted the roof, the
Marriage of St. Catherine, by Casolani. In the
sacristy St. Louis, by Taddeo Bartolo, and an
Annunciation by Beccafumi. The Piccolomini
Chapel contains a Holy Family by Sodoma.

Leaving the Piazza, one may follow the Via
dei Rossi till one emerges in the Via Cavour, in
the very thick of palaces. Palazzo Palmz'em', in
Piazza Tolomei, 15—10, near it a fresco of Sodoma,
1530, Virgin and Child with SS. John, Roe,
Francis, Crispin, in a very sad state of repair.
Further along, the Palazzo Bz'chz' Ruspoh', enlarged
in 1520 by Alessandro Bichi, governor of the city,
who five years after fell by the assassin’s knife.
The vaulting of the little colonnade is frescoed
with subjects representing Earth, Fire, and Air, by
liorgio Bandini and Alessandro Franchi, 1872.
Ehe Palazzo Spanocchi now holds the Post Office
and forms one side of the Piazza Salimbeni. The
other two sides are filled by the Palazzo deglz'
Ufizzz della Dogana, built in 1539 from designs of

124 GUIDE TO SIENA.

Tommasino della Spezia, a pupil of Baldassare
Peruzzi, and Palazzo Salimbcni, both of which are
now occupied by the Monte dei Paschi. Opposite,
Palazzo De Geri, once containing a fine collection
of prints now in the Belle Arti.

Following the Via Cavour towards the Porta
Camollia, one passes on the left the little Church
of Santa Maria della New (see \Vordsworth’s
sonnet), built by Francesco di Giorgio, H71.
*Within is a picture of the Virgin and Child
seated, surrounded with angels bearing chalices
of snow; and below, SS. Peter, John, Lawrence,
Catherine, by Matteo di iiovanni, signed OPUS
MATTEI DE SENIs, 1477. The predclla is also by
him, and gives the Vision of Pope Liborius, the
Pope designing a new church, the Madonna
surrounded by angels who scatter flakes of snow,
forming the plan of the Church. SS. Paul and
Jerome. The key may be found at the barber’s
below.

A road to the right, Via dei Campansi, leads
past the old monastery of that name to the Church
over which is written “Ricovero di Mendicita.” It
was built in 14:20 and is now used as a poor-house.
One knocks at the door to the right, and passing
through a small quadrangle belonging to the men,
ascends to the floor above. On the first landing,
over the arch of the staircase, is a fresco of St.
Francis receiving the Stigmata, in a good state

CAMPANSI. 125

of preservation, by Benvenuto di Giovanni. One
next passes through a dormitory with some feeble
and late fresco work, and there reaches the end of
the women’s ward. To the right of the arch is a
fresco of Christ with the \Voman of Samaria, by
Salimbeni. Opposite is a fresco, a good deal
rubbed, representing St. Anna and the Virgin
and Child, a strange group like the one by Luca
Thome in the Belle Arti; on either side St. John
and St. Sebastian. The face of St. Anna is
particularly grave and expressive, and the fresco
may have been painted either by Balducci or
else some one of the Umbrian school.

A little door lets one look through a grating
into the chapel, which has become dingy from
disuse. Over the high altar is a copy of Dome.-
nichino’s picture of Jerome’s Last Sacrament;
the roof is covered with frescoes by Michelangelo
and Niccolo Ricciolini, two Roman painters of the
seventeenth century, and by Giulio Coralli of
Bologna, their contemporary, which for decorative
effect are decidedly good.

Passing into another dormitory, there is a
fresco of Christ appearing to Mary Magdalene, a
work by Benvenuto del Giovanni. The drawing
of which is not quite exact. In the neighbour-
ing room there has been lately brought to light
an Annunciation of the old Sienese school. The
Virgin is a small quaint figure, and the general

126 GUIDE TO SIENA.

style of the drawing has led experts to attribute
it to Guido da Siena.

One then descends into another cloister, where
there is a very big fresco of the Assumption of
the Virgin which in some ways is one of the most
interesting pictures in Siena, but is only slightly
known. In many places it has been rubbed and
repainted, and here and there the restorer, think-
ing it was not bright enough, has dashed in streaks
of yellow and magenta. It is referred to in guide
books as a fresco by Perugino or by Balducci,
but it is obviously by more than one hand.

The lower part of the picture is occupied by
saints, these, together with the landscape up to
the top of the mountains, and the group of the
Virgin and cherubs in the centre of the picture,
are evidently by the same hand, though the
clouds and the cherubs’ heads have been very
much repainted, and the style and expression of
the faces is Perugino’s. In the upper part of the
picture there are choirs of angels painted in a
dry crisp style not unlike some of Buoninsegna’s
angels in the Pinacothek at Perugia, probably by
Pietro di Domenico or Matteo di Giovanni, while
the highest corner is occupied by a most unpleas-
ing picture of Dec Padre, evidently by some later
hand.

Returning into the Via Camellia and continu- ,
ing towards the gate of that name, one reaches

FONTEGIUSTA. 127

on the left the Church of St. Vincenzo, now the
Chapel of the Contrada of the Porcupine, it is
surmounted by a very pretty little belfry of
white stone. It was built in 1144, and the By-
zantine figure of Christ in the lunette on the
outside is generally attributed to that date. In
1513 Bernardino Betti, Pinturicchio, was buried
in this Church.

Further to the left there is a brick archway,
and a short sloping street leads down to.the
Church of Fontegz'u-sta. If it be not open, one
must go round and ring the bell to the right of
the Church, and an old woman comes and opens it.

The name of the Church comes from a neigh-
bouring fountain which was also known as Fonte
Malizia. It was built from 1479—1482 from
designs of Francesco Fedeli da Come. The
north portal, with carvings by N eroccio di Barto-
lommeo, which is the finest, was added in 1489.
“’ithin it is one of the most interesting churches.

In the west wall there is a circular window
representing the Virgin between St. Bernardino
and St. Catherine, and around it a sword, helmet,
and whalebone presented by Christopher Colum-
bus, who for some time attended the University of
Siena. To the right is a picture of the Meeting
of Mary and Elizabeth, painted by Michelangelo
Ansehni under the direction of his master Riccio.

On the south wall a picture of Siena with St.

128 GUIDE TO SIENA.

Bartholomew, Beato Sansedoni above by Ventura
Salimbeni.

(2.) Coronation of the Virgin, a very rich
picture with a great deal of gold about it, by
Bernardino Fungai.

The east end is one of the finest productions of
Sienese art, the high altar and the wall above it
are adorned with exquisite carving by Lorenzo
di Mariano, Marrina, 1517. In the lunette at the
top Fungai painted an Assumption of the Virgin
on a light blue ground, a picture even more
pleasing than the Coronation in the Servi.
Below is an Annunciation by Salimboni, and
beneath it the Birth and Death of the Virgin, by
Benvenuto da Siena. A very sacred likeness of
the Virgin is preserved here, which in the Spring
is carried in solemn procession to the Cathedral,
and there remains for a week, during which time
the Cathedral is turned into a fair for the sale of
candles and pictures of the Madonna delle Grazie.

Turning to the north side, one passes a pillar
from which protrudes a simple bronze benitier of
1480, with the inscription OPUS IOHANNES DE LE
BOMBARDE. On the first altar there is a striking
picture by Baldassare Peruzzi, representing a
Sibyl announcing to Augustus the birth of Christ,
the Sibyl’s figure is remarkably fine though a little
out of drawing, BALTHASAR PERUZZI DELINEAVIT
ET DEPINXIT. On the west wall the Madonna

THE LIZZA. 129

delle Grazie saving Siena at the time of plague,
by Riecio. .

Following the Via Camollia, one next comes to
the Church of San Pietro alle Magz'one, an old
church of the Templars, which must once have
had a very fine facade; it dates from 1100. One
generally enters by a chapel added in 1526,
dedicated to SS. Concezione, as a thanksgiving
offering for the discovery of a conspiracy by
Luzio Aringhieri, who attempted to let in the
exiled Sienese by a subterranean passage, and for
a victory gained over Pope Clement VII. and the
Florentines. The Virgin and Child are the work
of Riccio. In the sacristy of the Church is a fine
reliquary of the fourteenth century.

On the wall of the house before one reaches
the Church is a small carving of St. Peter, very
vigorous in style, a work of the fourteenth
century.

We then come to the Porta Camellia, whence
one may turn back along the same street till one
reaches the Lima, which is the public promenade
of Siena, where the band plays twice a week; one
thus reaches the little Church of San Stephano
which dates from 1197, but owes its present form
to the year 1671.

The picture of the Visitation is by Domenico Manetti, St.

Stephen by Astolfo Petrazzi, but the chief object of interest is
in the sacristy, where there is a large picture, painted in 1400,

K

130 a UIDE T0 SIENA.

by Andrea Vanni. It represents a Virgin and Child between
St. Stephen and St. James and the Baptist and St. Bartholomew,
The prodella giving events from the life of St. Stephen was
painted by Giovanni di Paolo.

One may now cross the Lima, which was the
site of the fortress built by the Emperor Charles
in 1551, and destroyed by the Sienese in the fol-
lowing year after the defeat of Don Diego. They
obtained but little respite thereby, for the city
fell in 1555, and five years afterwards Cosimo
di Medici had built the great fortress of Sta.
Barbera, “per cohibere Senarum andaciam.” It
stands at the end of the Lizza, and now serves in
part as a barrack for the soldiers, but the public
are allowed to walk round the walls, from which
there is a splendid view, especially at the evening
hour.

The terrace below is used as the ground on
which they play pallone.

(131)

CHAPTER VIII.
ST. CATHERINE AND ST. DOMENIC.

CATHERINE is the saint who claims most wor-
ship from the Sienese, and many are the books
that have been written concerning her life; but
at this distance of time it is hard to discern fully
her true life from the many apocryphal records
of the Romish Church, for since most of her bio-
graphies have been compiled with a devotional
object, the miraculous covers a very wide area.
She was born in 1347, being one of a large
family, whose father Giacomo Benincasa carried
on trade as a dyer not far from the Porta Fonte-
branda, whither the ample supply of water
attracted those whose trades could not dispense
with it. From her earliest years her character
seems to have been the same. As a mere child
she was always a welcome guest in the houses
of neighbours, who called her by the name of
Euphrosyne ; and while still in her seventh year,
she wept bitterly because her brother spoke to
her suddenly as they came down the hill facing St.
Domenico, thereby causing to vanish a glorious
vision of Christ and His angels? She was of a
K 2

132 GUIDE TO SIENA.

spiritual and ecstatic nature, with a very vivid
imagination, and a desire beyond that of most
children to put in practice what was in her
thoughts; and to these causes must be attri—
buted such visions as mentioned above, and her
supposed call to a hermit’s life in one of the
caves near Siena, and her dismissal again home
by the same spiritual voice.

As she advanced in years she was subjected to
no little ill-usage, for declining to marry. The
servant was dismissed, and all the household
drudgery was put upon her, all of which she
bore patiently; and finally her honest supersti-
tious father, happening to come into her room
one day when she was kneeling in prayer with a
White pigeon resting on her head, thought that ‘
he therein saw his daughter to be specially de-
signed for the work of the Holy Spirit, relented
entirely, and at her request applied that she
might be admitted as a penitent into the third
order of Dominicans. This was at first refused,
as none but sober matrons were generally recog-
nised as fit for such a post, but after having had
an interview with her, they were willing to admit
her. From this time her life was one of sym-
pathy and devotion to her fellow-men. Braving
the sneers of her fellow—townswomen, she set
aside the existing laws of propriety, and went
about the town alone visiting any to whom she

ST. CATHERINE. 133

"t
thought she might do good—those suffering from
ulcers or from plague, the most abandoned crimi—
nals, the bitterest of foes. Wherever she went,
she made her power as a pure unselfish woman
felt; those whom priests had failed to touch
went with her meekly to the scaffold, and died
with the names of Catherine and Jesus on their
lips; whole masses of the lower orders fallen into
ribaldry and lasciviousness, smitten by her simple
fervent words, abandoned their vicious courses and
began to live the life of good citizens; and harder
work still, she visited the houses of the great, the
Tolomei, the Saraceni, the Salimbeni, and per-
suaded them to lay aside the Vendetta, which
family pride had handed down to them from
their ancestors. Herein lay the foundation of
her political power, and of the reformation she
was to help in Italy. To begin with, it was a
revolution in itself, that she, an ordinary dyer’s
daughter, should be admitted and recognised
amid the families of the patricians; and having
gained this much respect for her own person,
she proceeded to claim it for others of like rank.
And yet to us in the nineteenth century her life
must have seemed a strange one to have moved
such mighty powers, and wrought such changes
in the condition of the country. \Vith regard to
herself, she practised the sternest austerities
What little sleep she took was on the ground

13-1 GUIDE TO SIENA.
IQ

with her head resting on a stone; her food was
of the simplest, and she partook of but little of
that, no wonder then that her soul should have
stepped beyond her over-wrought body, and that
she should have had clear visions of what was
always most prominent in her heart. There is
no need to mention many here, for the pictures
in Siena tell their own story. She prays for a
new heart, and Christ comes in person to give her
a flaming heart of His own; or she prays that she
may have a martyr’s crown, and again Christ is
there, reaching to her a crown of thorns which He
presses down upon her head till the long spines
enter the brain; or finally, she prays that she may
be entirely like her Lord, and as she kneels at
early dawn in rapture before the crucifix, ruby
coloured beams start from the pierced hands and
side, and mark her body too with the sacred
stigmata.

But one must leave the visionary and return to
the facts about her life. During her spare time
she taught herself to read in order that she might
study the Scriptures, and later she learnt to write,
and produced letters to leading statesmen which
deserve to rank as some of the purest specimens
of early Italian.

In 1374 she was occupied with the plague in
Siena, and in the following year accepted the
invitation of the people of Pisa to work among

sr. CATHERINE. 135

them; from this time she began to write letters to
Sir John Hawkswood and other condottieri, and
gradually got drawn into the whirlpool of politics,
until in 1376 she went to Avignon to plead the
case of Florence before Pope Gregory XL, who
kept there a court of almost barbaric luxury, and
utterly disregarded the claims that his Italian
possessions had on him. Catherine had a hard
struggle; the Pope was weak and vacillating, the
court strongly opposed to any move, and seeing in
Catherine a dangerous enemy to their worldliness,
did as all worldly- vise societies have ever done,
made religion fashionable, copied the cut of their
dresses, as far as was becoming to people of real
fashion, from those of Catherine, and by always
talking of her as the one object of their
admiration, nearly gained their point and frus-
trated the attempts of Catherine to have the
Papal Court moved to Rome. But Catherine was
fixed in purpose and stronger in will than
Gregory, and after much delay managed to
persuade him to return to Rome. Her life was
nearly brought to an end in 1378, when she
narrowly escaped political martyrdom at Florence.
This year Gregory died, and after a confused and
timorous meeting Urban VI. was elected Pope,
an event which was shortly followed by the
secession of the French cardinals, who were
sighing for the flesh-pots of Avignon, and the

136 GUIDE TO SIENA.

election of the Anti-Pope Clement VII. From
this time till her death Catherine devoted her-
self to strengthen the cause of Urban, pleading
with the people of Rome, with the States of Italy,
with the voluptuary, Johanna, Queen of Naples,
on behalf of the rightful Pope, for reforms in
the Church, and for peace between nations. The
tension was too great for her, and even in 137 8
she is described as walking about the streets of
Rome like a phantom from the tomb, tormented
for ever with a burning thirst. But there needed
yet another year and more of wasting agony
and struggle between flesh and mind, before the
supreme moment came when the spirit was to be
freed.

“ Yea, Lord, thou oallest me, and I go to Thee ;
I go not on account of my merits, but solely on
account of Thy mercy, and that mercy I implore
in the name, 0 Jesus, of Thy precious blood.
Father, into Thy hands I commend my spirit.”
These were her last words, and then her counte-
nance lighted up, and she died on the 29th of
April, 1380.

From the Lizza the Via 8cm Domenico leads to
the Church of that name, which stands on the
elevation above the Porta Fontebranda. The
Church was begun in 1220 and finished in 1465
in an Italian Gothic style in the shape of a. Latin
cross. Its immense strength, and its lofty posi-

SAN DOMENIOO. 137

tion, suggested to Don Diego its utility as a fort,
for which purpose he used it in 1552. On enter-
ing, one is impressed with the wonderful bare-
ness and a sense of space, which, though cold,
is not at all unpleasing. A tablet on the west
wall tells of its consecration by Alex. Piccolomini,
Archbishop of Siena, in the year 1568. The chief
attraction in the Church are the memoirs of St.
Catherine. A door in the western wall lets one
into a small chapel, where legend says the saint
resorted to perform the Mass with Christ; the
long narrow stairs up which she was wont to
go are carefully protected by a grating. Over
the door is written :—

En locus hic toto sacer et venerabilis orbe;

Hic sponsum Caterina suum sanctissima szepe

Vidit orans Christum, dictu mirabile ; sod tu

Quisquis ades hic funde preces, venerarc beatam
Stigmata gustantem, divini insignia amoris.

Above is a painting on wood of Christ on the
Cross, by Sano di Pietro, attributed by some to
Giotto.

The door lets one into the Cappella delle Volte.
To the right as one enters is a picture by Giro-
lamo di Benvenuto in his favourite brown tints.
It represents a Virgin and Child with saints and
angels, the latter of whom are carrying snowballs.
*The picture must evidently have been painted
like the one by Matteo di Giovanni, in honour

138 GUIDE TO SIENA.

of the Madonna della Neve. It is signed OPUS
HIERONOMI BENVENUTO MCCCCOVIII.

The picture of the Birth of the Virgin is by
Casolani, 1584, and the other pictures by
Gambarelli, 1602.

*Over the altar there is a small fresco of
St. Catherine of Siena, painted in 1400 by her
contemporary, Andrea Vanni. '

Returning into the Church, in the nave, to
the south :—

(1.) A monument to Pianigiani Tito Sarocchi,
1858.

(2.) An Appearance of the Virgin, by Volpi.

(3.) Saints with the Trinity, surrounding a
small Virgin and Child, of early Sienese school.

(4.) The Death of Peter Martyr, by Archangelo
Salimbeni; a good picture. There are very few of
this artist’s remaining, and he has consequently
often been confounded with his son Ventura,
1579.

(5.) On the wall one or two pictures of St.
Catherine, and then the chapel specially declicated
to her.

On the altar is a tabernacle by Lorenzo di
Pietro, Il Vecchietta. On either side of it two
frescoes known as the Ecstasy and the Faint,
painted in 1526 by Sodoma. The large fresco on
the left wall is also his. St. Catherine had been
attending a furious and impenitent criminal,

SAN DOMENIOO.‘ 1 39

named Tuldo, who for a long time turned a deaf
ear to her words of comfort. At last, owing to
Catherine’s prayer, he became fully penitent and
meekly submitted to his death. The uplifted
eyes in the severed head seem to speak of
assurance. The picture is generally known as
11 Miracolo. On the opposite wall the painting
in oils is by Francesco Vanni, and represents
the Healing of a Demoniac by St. Catherine.
The saints and cherubs on the arch are by
Sodoma, and the pavement is not undeserving
of attention.

(6.) There is considerable doubt about the
authorship of the picture over the last altar. The
predella is by Bernardino Fungai. The picture
of the Nativity is attributed to Francesco Adi
Giorgio and Luca Signorelli, and the upper part
to Francesco di Giorgio or Matteo di Giovanni.

As one passes into the right transept, the door
of the sacristy is to one’s right, over which is a
triangular picture by Guido da Siena. Within,
the pictures are of little interest, with the excep-
tion of an Assumption, painted on silk as a Church
banner, by Sodoma.

There is nothing to detain one in the first
chapel of the transept except some rather nice
tiling; and the second is devoted to tombs of
foreign students, chiefly German. In the one
nearest the high altar, is the altar of the Rosario,

140 GUIDE TO 5mm.

centaining a Virgin and Child between saints,
and small pictures, from the Annunciation to the
Assumption of the Virgin, all by Sodoma; the
St. Sebastian to the right in pose is not unlike
the one in the Pitti at Florence.

The high altar is surmounted by a very
graceful ciborium, probably by Benedetto da
Majano, and not by Michelangelo. The two
angels at the side are by the same hand, and
very like those at Bologna attributed to Michel-
angelo.

A door behind the high altar lets one out on to
a balcony with a very good View of the town.

Passing into the north transept, in the second
chapel over the altar a Virgin and Child, by
Guido da Siena. It bears a date ANNO DOM.
MGCXXI, upon which the Sienese have founded a
claini to priority with the Florentine school, but
this is probably a false date and should have been
1281. The rest of the inscription says :—

ME GI’IDO DE SENIS DIEBCS PXNXIT AMENIS
QCEM CHRISTL'S LEYIS NULLIS VELIT AGERE PENIS.

There is an interesting confusion about the two
pictures on the side walls ; they were removed and
then replaced, and in the last change the lunette
belonging to one got attached to the other.

On the right wall, St. Barbara in a rich dress
attended by SS. Mary Magdalen and Catherine

SAN DOMENICO. ' 141

of Alexandria, signed OPUS MATTEI DE SENIS,
painted in 1479 ; above, a Pieta, by Girolamo di
Benvenuto.

Opposite, a Virgin and Child with saints, 1508,.
by Girolamo di Benvenuto, with a lunette of the
Epiphany, by Matteo di Giovanni. The old
authorities attribute the Virgin and Saints to
Giovanni di Paolo, 1426.

In the next chapel a triptych in very bad con-
dition, a Virgin and Child between John the
Baptist and Jerome, generally attributed to Matteo
di Giovanni, though possibly by Benvenuto.

In the north nave :—

(6.) St. Benedict, 820., by Francesco Vanni.

(5.) Pope and Sta. Rosa, by Deiphobo Bur-
berini.

(4.) Crucifixion, by Ventura Salembeni.

(2.) St. Anthony casting out Devils; a good
picture, especially as regards the drapery, painted:
in 1627 by Rutilio Manetti.

(1.) St. Hyacinth, by Raphael Vanni.

The convent is now used as a school, and the
crypt as studios and storehouses.

In the adjoining Cloister there are remains of an
Annunciation, by Lippo Vanni, 1372. It was one
of the Dominican convents at which the “Dumb
Sicilian OX,” St. Thomas Aquinas, spent much
time.

Returning towards the town, one had better

142 GUIDE TO SIENA.

follow the Via delle Belle Arti till the first
turning, and then go down that till the Via
Benincasa is reached, when a few steps to the
right will bring one to the Chapel of the Con-
trada of the Oea, which is part of the house of
St. Catherine.

It stands in the midst of tanneries, and consists
of several oratories made out of the various rooms
of the house.

Entering the lower chapel of the Contrada dell’ Goa, the
pictures on the west wall on either side of the door are by Folli,
the stonework by Francesco di Giorgio. In the lunctte over
the high altar St. Catherine receiving the Stigmata, by Sodoma,
whose are also the surrounding angels. The altar itself was
designed by Cini. Of the big frescoes on the right wall :—

(1.) Several Dominicans being saved from a murderous attack
by the prayers of St. Catherine.

(2.) St. Catherine visiting the body of St. Agnes, at Monte
Pulciano, who raises her toe for Catherine to kiss.

On the left wall—-

(2.) St. Catherine healing Messer Matteo di Cenni of plague.
These three frescoes are by the same hand and generally
attributed to Pacchiarotto, though as usual some have assigned
them to Pacchia.

(1.) A picture known as L‘Intrepidezza, the fearlessuess
displayed by Catherine in the presence of Florentine soldiers,
by Ventura Salimbeni, 1604.

One then ascends into another oratory, which
was originally the kitchen of the house, where
the tile work is particularly noticeable.

Over the altar there is a good picture of the saint praying, by
Bernardino Fungai, painted in 1516. The other pictures at

CASA DI SANTA OATARINA. 143

this end are in a bad light, and thus hard to distinguish; St.
Jerome, St. Domenic, two prophets, and the Dio Padre are by
Sodoma, and the others by his pupil Riccio.

0f the big pictures on the side walls the majority show the
influence of the Venetian school.

The picture of the Torture is by Lattanzio Bonastri of
Lucignano, belonging to the school of Titian. To the left of
the picture are introduced portraits of some of the leading men
of the order.

The Demoniac cured by Catherine is the work of Pietro Sorri,
a Siencse painter who studied in Venice in 1589.

The Ecstasy of Catherine at the elevation of the Host, and
the Marriage, are. by Arcangclo Salimbeni, though the latter is
also attributed to Pomerancio. The Canonization was painted
by Francesco Vanni in 1600.

Catherine at Avignon discussing with Gregory XL, by some
one of the school of Tintoretto. I

At the further end of the oratory, the picture in the centre, of
St. Catherine lying dead, is by Francesco Vanni, while of those
at the side, Jesus Christ with St. Catherine’s heart, and the
saint with the crown, are also his. St. Catherine in the dress of
the third order of Dominicans, and in converse with the Holy
Spirit, are by Rutilio Manetti. SS. Colombini and Andrea
Gallerani, by Casolani. The ornamentation of the roof was
designed by Riccio in 1567, and executed by Girolaino Formichi.
This part of the building suffered severely from earthquake in
1789.

Leaving this oratory, one passes across an Open
space ornamented with Doric pillars by Baldassare
Peruzzi, and thus enters a vestibule leading to
the Church of the Crucifix. In it, there are one
or two pictures of the saint and a wax model of
her head as it exists at present. But the most
interesting object is a cast, which from the amount
of expression in the face is evidently a likeness,

144 GUIDE TO SIENA.

and as such forms the frontispiece to Mrs. Butler’s
book.

The Church was begun in 1611, as a fit temple
wherein to keep the miraculous crucifix made by
Giunta Pisano, which in the year 1375 conferred
upon St. Catherine the Stigmata as she knelt in
ecstasy before it at Pisa. The precious relic
stands upon the high altar, and the frescoes round
it by N assini give one the history of the event.

The rest of the pictures in the Church are of
the decadence period, by Franchini, Calvi, Guer—
rini and others. The best are those in the
transepts, to the right by Conea, to the left near
the entrance door by Rutilio Manetti.

On leaving the Church one is again taken
below, and shown some relics of the saint, and the
stone on which she used to rest her head to sleep;
above the altar at the other end is a pleasing
little picture which looks antique, but is probably
one of the imitations which Breseiano amused
himself with.

Returning into the Via delle Belle Arti, and
continuing to ascend, one soon reaches the Public
Library, known as Academia degli Intronati,
originally part of the Convent of the Misericordia,
and opened as a library in 1758 by Sallustio
Bandini. It is now an exceedingly good library,
with 5600 manuscripts and 65,000 volumes, and
every courtesy is shown to those who wish to

,-

THE BELLE ARTI. 14;)

avail themselves of it. Among its other treasures
it possesses an old Greek manuscript of the
Gospels, of the ninth century, coming from the
Emperor’s palace at Constantinople, and some old
breviaries, and of more modern date, sketch
books of Baldassare Peruzzi, the old San Gallo,
Vanni, Riccio, and Beccafumi.

The rest of the Convent is now occupied by the
Belle Arti, the entrance to which is next door to
the Library.

THE BELLE ARTI.

The gallery contains a good collection of the
Sienese school, and some few other pictures, but
the arrangement is not very satisfactory. As far
as possible, it is best to keep the different pictures
of the same artist together, but this would neces-
sitate so much running to and fro, that this
catalogue merely groups them in rooms. It is
interesting to notice how good Catholics have
allowed their feelings to run away with them, and
many of the pictures are considerably defaced by
people having attempted to scratch out the de‘
mons and persecutors of the Church. This is espe- '
cially noticeable in the first and eighth galleries.

The collection dates from the year 1816, but
additions are continually being made to it.

At the entrance there are some carvings
by Turini, a Florentine, representing the Four

L

146 GUIDE TO SIENA.

Evangelists and the Latin fathers, two angels
holding back some draperies, evidently from a
tomb, and from their likeness to those in BishOp
Tarlati’s monument at Arezzo, possibly by Agostino
or Angelo da Siena.

Then a Presepe of the school of Luca della
Robbin.

 

 

 

 

 

To.

 

 

 

 

 

 

 

5—..—
H—

 

 

-—1
r—‘I
r—-1

The custode conducts one to the first corridor :—

1. Byzantine Period.

Pictures 1—5, 8—14. No. 1% a Christ on the Cross, rather
like the one by Sassetta. 15, 16.

x \ Guido da Siena (latter part of the thirteenth
century).

(6.) A large and stiff Virgin and Child.
(7.) A smaller one.

PICTURE GALLER r. 147

\ . Duccio della Buoninsegna (painted from
’ 1282—1320), his best picture in the Duomo.
(20—22.) Small pictures.
(23.) Triptych, Virgin and Child between SS. Augustin
and Paul, Domenico and Peter; above, Christ and Angels.

(24.) A Triptych with Virgin and Child, and a Coronation
of the Virgin ; on the wings scenes from the life of Christ.

Segna di Buonaventura.

Virgin and Child and Saints, very much in Duccio’s style,
though the treatment of the hair is different.

Gilio di Pietro.

(28.) Virgin and Child.

Masarello di Gilio.

(33.) Christ on the Cross.

Returning, on the opposite wall several pictures
of the time of the Lorenzetti :—

The Lorenzetti (died 1348).
Ambrogio.

(45.) A very beautiful Annunciation, XVII DI DECEMBRE
MCCCXLII. FECE AMBROGIO LORE—CI.

(47.) A Bishop, St. Martin.

(48). St. Gherardo.

(46.) Virgin and Child, with large round eyes, and a Pieta ;
at the sides Santa Marta, Santa Fiora, then the two Johns.

Pietro.

(50, 51.) Small pictures containing two Saints.

(54.) A Bishop.

(55.) A Virgin and Child with Angels. Here again one may
see the departure from the conventional almond~shaped eye.

L2

148 G UIDE T0 SIENA.

(58.) A very rich picture with a great deal of gold, Virgin
and Child with Angels.

(59.) Assumption; has been very glorious, even now some of
the faces are very beautiful, but the whole has been spoilt.

Niccolo di Segna.

(60.) Christ on the Cross. Signed, NICIIOLAI’S sEGNE, painted
in 13i5. Angels.

Bartolo di Fredi (Battiloni, 1830—1410).

(79.) An Adoration of the Magi, who also appear in the
background consulting Herod; the horses very conventional,
with scarlet months.

(80-34.) Pictures representing the life of the Virgin and
Saints forming part of a large altar-piece.

(89.) The Evangelists.

Lippo Memmi (painting in 1313, died 1356 P).
(80.) Virgin and Child, and four saints.

Paolo di Giovanni (l’ei, 37:2).

(112). John the Baptist and two other Saints.

2. One now passes into the corridor 2—-

(Without a number.) Christ with His Cross : Christ floating
in the air; below, an Angel and some little Herrnits.

(235.) Virgin and Child with Saints and Angels. The
Child's head is larger than the Virgin’s, and looks like one of the
gladiators in the Mosaics at the Lateran. Above, an Annuncia-
tion; the colouring is dull.

(196.) Two Saints.

(221.) Virgin and Child.

(Without a. number). Presentation in the Temple, damaged.

J acopo di Mino de Pellicciaio (painting in
1342—1363,

(109.) Virgin and Child surrounded by Saints and Angels,
the Child is crowning St. Catherine of Alexandria, St. Margaret

PICTURE GALLERY. 149

is present with her dragon, St. Lucia with a basin containing
two eyes, also SS. Mary Magdalen and Agnes. At the sides,
SS. Antony and Michel. The only other picture of his in Siena
is a little Virgin and Child in the Servi, IAOHOBUS MINI m:
sens I‘INXIT ANNO Domxi )I.ocoLxu.

Ambrogio Lorenzetti.

(114, 115). St. John the Baptist; St. Paul.

A picture without a number, representing the Birth of the
Virgin.

Pietro Lorenzetti.
Annunciation.

Andrea Vanni (1100).
(116.) Christ between two Saints;

Room 3.

One next enters the first cabinet to the right :—-

On the right wall——

Sano di Pietro (di Domenico, 1406-1481).
He was not entirely free from the conventional
school, but in many of his pictures painted the
faces with large round eyes. His colouring is
various, sometimes very bright and sometimes
dull; he spent much of his time in painting
missals, and in his smaller pictures one sees the
influence of this art of miniature.

(271.) Virgin and Child with little Angels.

(276,) Virgin and Child, with large round eyes, between
four Saints.

(277.) Saints.

(273). An Assumption.

150 G UIDE T0 SIENA.

On the end wall—
(262). A dull painting.
On the other wall—

(246) Annunciation, SS. Francis, Michel, Jerome and
Nicolas. Next is a triptych, Virgin and Child between SS.
Bartholomew and Lucia, SANts PETRI mecccxnvn.

(239.) Virgin and Child and Saints, with a Crucifixion and
scenes from the Passion.

(234, 237.) Saints.

Giovanni di Paolo (enrolled on the list of
Painters, 1428).

(279-284.) Two triptychs.

Gregorio Maestro (1418).

(132.) A Virgin and Child. The only other painting of his
is a small fresco in the Servi, the Madonna delle Anime.

Monachi di San Marco. The nuns of the
Convent of St. Mark, now destroyed, painted in
the fifteenth century.

(270.) An Adoration of the Magi. Above, Virgin and Child
with SS. Catherine of Alexandria and St. Margaret with a
tame dragon; a very bright and fresh picture, with delicate
gold work.

(254.) Christ on the Cross, between SS. Peter and Michael.
Paul and the Angel with Tobit. The companion picture is in
Gallery 9, N o. 216. The other picture by them on the left wall
is inferior.

Matteo di Giovanni da Siena (1435 ?—
1495;

(223.) Virgin and Child between very lovely Angels.

Andrea Vanni (contemporary with Caterina,
1332 ?—1414?).
(250-253.) Four masks.

PICTURE GALLERY. 151

Ambrogio Lorenzetti.
(44.) Head of Michael.

Girolamo di Benvenuto (born 1470, died
1524)

(165.) An Assumption of the Virgin, in style and colouring
suggestive of Andrea Mantegna.

Room 4.

There are several pictures by Sano di Pietro.
(201.) Pope Calixtus III. sits to the left, holds a crook with a
scroll on which is written :—
Vergine madre a Dio cara consorte,
Se ’1 tuo Calisto e degno a tanto dono
A Siena non torra mi altro che morte.
To the right the Virgin,
O pastor degno a1 mio popolo Christiano,
A te di Siena ormai la cura relinquo;
Fa che allei volga ogni tuo senso umano.
Below is seen Siena bring victualled, SANCS PETRI DE SENIS
PIXIT.
(200.) San Bernardino, signed MCCCL.
(207.) Saints.
(190.) Virgin and Child.
(209.) St. Lawrence.
(218.) Saints.

Girolamo Genga (da Urbino, 1476—1551),

brought to Siena by Pandolfo Petrucci.

(219.) The Taking of Troy, ZEneas bears his father and his
' household gods, Iulus at his side, Creusa following. In the
background Troy in flames. To fill up the foreground a
strange ape has been introduced.

(220.) Freeing of prisoners of war.

“roodwork carved by Barili.

152 GUIDE 70 3mm.

A picture by Giov. Antonio Bazzi, known as
Sodoma, 1474—1549, has been placed here, it is a
fresco from the Church of San Francesco represent-
ing Christ at the Pillar, very like the one at Monte
Olivetto, but there the figure was alone, here from ‘
the traces of another arm one may conclude that
there were more figures present.

Room 5.

One crosses to the room at the end of the
corridor, where there are some large works by
Sano di Pietro.

(151.) Virgin and Child between SS. Francis, William,
Jerome, and Domenic; before her kneels a Frate whose face
reappears in other of Sano’s pictures, and has a. ruffian-like
appearance. Signed ores SANI PETRI DE SENIS MCCCCXLIIIL

Virgin and Child with Angels, in very bright colours ; it has
evidently been repainted.

(294.) Another big ancona, representing Virgin and Child
and Saints.

Domenico di Bartolo (nephew (?) of Taddeo,
and his pupil, died in 1449).

(133.) Virgin and Child. Signed, DOMINICUS DOMINI MATREM
PNXIT ET ORAT mocccxxxm.

Bernardino Fungai (or Fongari, 1460—
1530 ?).

(296.) A Salutation of Elizabeth, rather damaged, but with
some nice faces; at the side St. Michael and St. Francis.

PICTURE GALLERY. 153

Luca di Thome (known to have painted in
1363).

A Virgin and Child, protected by a larger figure of St. Anne,
a composition which is rare; to the left, John the Baptist and
St. Catherine of Alexandria; to the right, St. Antony, and a
Virgin with a seal. Signed, LUCA THOME DE SENIS PINSIT HOC
orrs MCCL‘LXYII(I).

Taddeo Bartoli (1362—1422).

An Annunciation on a gold ground ; at the side, SS. Cosmus
and Damian dressed in the robes of a physician of Taddeo Bartolo's
time ; above, the Death of the Virgin, beside Whom stands Christ
with a swathed bambino, the Virgin’s soul ; above, the Trinity.
His best works are frescoes in the Palazzo Pubblico. This
picture is signed, TADDEL’S BARTHOLI DE snms PINXIT HOC
OPL‘S ANNo DOMINI MILLE QUATTRO CENTO NOVE.

(303.) Over the door hangs a stiff picture of St. Francis,
with events from his life at the side. It is very like the picture
by Margaritone at Arezzo.

Room 6. ‘

Sano di Pietro.

(210.) A small Coronation of the Virgin, with rich gold
diaper pattern running throughout._ 233, 234.

Lorenzo di Pietro, Il Vecchietta (1422—
1480)

(193.) St. Bernardino.

Martino di Bartolomeo (Bulgherini).

(117.) Virgin and Child and Saints.

Lippo Memmi (Filippuccio, 1313—1356).

(97.) St. Michael; a very thick-set figure in an arabesque
dress sits above the shattered remains of the dragon, Which sug-
gest defeated lobsters, at the sides St. John the Baptist and
St. Antony.

154 GUIDE TO SIENA.

Room 7.

Piero Francesco.
(344.) Virgin and Child, and St. Francis and Ghedardo ; a

dry thin painting with expressive heads.
Bernardino Betti, I1 Pinturicchio (1151-
1513)

(362.) A fresco of the Presepe ; a careless work.

Spinello Aretino (1328—1400).

(236.) Coronation of the Virgin.

Virgin and Child with a bird, by Taddeo Gaddi. Signed
TADDEts Gianni DE FLORENTIA ME PINXIT 191°cccccv.

Andrea Pucinelli, I1 Brescianino (pupil
of Sodoma, 1520 ‘9).

(397.) A Virgin and Child with Saints below; a feeble
picture with faces more like Beccafunii than Sodoma. His
better pictures are in the Baptistcry, and St. Bernardino.

Andrea di Niccolo.

Virgin and Child, St. Catherine of Alexandria, St. \Villiam.
St. Catherine of Siena, St. Sebastian, PINXIT ANDREA NICCOLO
SENENSIS A.D. MCCCCC A.D. xxv. NOVEMBRIS.

Room 8.

A small room containing modern pictures.

Room 9.

Sano di Pietro (1106—1481).

Virgin and Child; the Child’s foot is very much out of
drawing, circular eyes ; at the sides, St. Catherine of Alexandria,
St. Margaret, Bernardino, Francesco.

PICTURE GALLERY. 155

(185.) Virgin and Child; in this picture Sane has painted
quite his biggest round eyes.

(189.) Four Saints.

(188.) Christ and six Saints.

Virgin, with the Child holding a bird, the Virgin’s robe
has been very coarsely repainted ; around, angels and two Frate ;
at the side, SS. Cosmo and Damian; above, an Annunciation.
The predella is interesting as giving scenes from the life of the
doctor Saints.

(147.) Coronation of the Virgin, SS. Francis, Gerome, Bernar-
dino, and Guglielmo.

(1&5.) Virgin and Child, John the Baptist, SS. Guglielmo,
Laurence, and a female Saint with a viper. Predella give
the life of St. Guglielmo. The centre part has been much
repainted, and marble flowers put in. Signed, OPUS SANUS
PETRI DE SENIS MCCCCXLVIII.

(143.) Assumption of the Virgin; at the sides John the
Baptist and others.

(144.) Predella.

(141.) A very bright Virgin and Child, a little in the style
of Fra Angelico.

Giovanni di Paolo (di Giovanni, painting
1423}

(308.) Crucifixion, OPUS IOHANNIS PAULI PINXIT mocccxxxx.

(179.) Predella, history of the Virgin and of Hermite; a very
grey painting.

(136.) Virgin and Child between SS. Guglielmus, Paul,
Catherine, Saint with book and flag; above, an unpleasing
bust of Christ.

(135.) Virgin and Child between SS. Guglielmo, Francis,
Bernardino, Catherine and Louis. Below,

(131.) A predella, very interesting and containing some
exquisite work. The Last Judgment; in the centre sits
Christ with His right hand raised in condemnation; on either
side of Him, John the Baptist and Anne (‘2) and then seats on
which are the Twelve Disciples. Below is the Virgin, which
reminds one of the figure in Lorenzetti’s Last Judgment at
Pisa. At the bottom of the picture the dead rise from their

156 G UIDE T0 SIENA.

tombs, and on the right the wicked divided ofl‘ into Dantesque
Bolge are being tortured; on the left the elect wander among
the fields of the blessed; each figure is carefully painted, and
the little innocents are seen everywhere playing under the trees
with golden oranges.

(137, 138, 139.) Little pictures of the life of Christ, on gold.

Cozzarelli Guidoccio (di Gio. Battista
Nanni, 1450—1516).

(184.) A female Saint surrounded by scissors, knives, &e.;
behind, a woman with chickens.

(183.) St. Sebastian; to the left an escutcheon on a. tree
with a black and white monk with a book, the arms of the
donor, Baldassar di Monachuseis legum doctor, hoc opus fecit
ficri, enjus insignia, A.D. MCCCCLxxxv.

(157.) Virgin and Child above, very like some of Matteo di
Giovanni’s pictures, below SS. Jerome and Bernardino. Signed
GUIDOCIL‘S Prsrr A.D. MCCCCCLXXXII. DICEMBRE.

Lorenzo di Pietro, I1 Vecchietta (1-112—
1480)

(186.) A Virgin and Child between St. Peter and St. Paul,
under a gold dome. with the donor adoring the Virgin. A very
dark picture, so rubbed that but little remains beyond the dark
background, and reminds one of Ginnta Pisano and Cimabue’s
frescoes at Assisi. The legend has been painted twice, Opts
LAURENTII PETRI SCL'LTORIS, painted over the words PITTORIS
A EL \‘ECCHIETTA 0B sum DEYOTIOXEM.

*Andrea di Niccolo.

(181.) A Crucifixion, in very sober colouring, the face of
Christ carefully painted, but might almost be by a German
master. The faces are all very expressive. Behind is the
procession to Calvary. Legend, Christus factus est pro nobis
obbediens usque ad mortem autem crucis, A° D’. MCCCCCII.

* Pietro di Domenico.

(180.) A Presepe. The Virgin in a rich, brocaded dress
kneels over the Infant Christ, her face is very lovely; above are

PICTURE GALLERY. 157

Die Padre and the Dove; below, shepherds and Saints. To the
left in the background are the Shepherds keeping Watch, and
the Flight into Egypt.

(174.) A smaller picture of the same subject, the animals
not quite true to nature. In the background to the left is the
Announcement to the Shepherds, and the Coming of the Magi.

(173.) Virgin and Child between SS. Jerome and Antony;
wonderful heads like Piero della Francesca, or some other pupil
of Benozzo.

Matteo di Giovanni (Matteo di Siena,1~1~’l5—
1495).

The pictures of his in the gallery do not fully represent
his style.

(168.) Virgin and Child with St. Catherine, whose face is
painted from the bust or some extant portrait. St. Sebastian
and Angel with fruit, very much repainted.

(170.) Virgin and Child with Angels on a gold seggiola ; the
Virgin’s robe has been almost entirely spoilt.

(169.) A lovely light-haired Virgin in a beautiful dress,
partly repainted.

(167.) Virgin and Child, with a great deal of gold work, the
Virgin’s face is much more conventional, being long and pointed,
with almond-shaped eyes, but the Angels are very lovely.

(166.) A large picture of a Virgin and Child. Behind
stand four Angels, and at the side SS. Cosmo and Damian, the
drawing of the head on the right is very fine, and a little
resembles Albert Durer. Beside him stands a young Saint
with a sword, whose spindly left leg is somewhat out of
drawing.

Girolamo di Benvenuto (painting in 1484).

(164.) An Adoration of the Shepherds, in sober colours, of a
brown tint, a long and graceful figure of the Virgin kneels
before the Child arrayed in a richly brocaded dress; above, a
Bio Padre ; to the left, Annunciation.

(165.) A Pietii.

158 GUIDE TO SIENA.

Neroccio di Bartolommeo (Laudi, 1437-

1503)

(154, 155, 156.) Virgin and Child ; each picture painted in
light colours, and more or less recalling Matteo di Giovanni.

(153.) Triptych, in the centre a full-length figure of the
Virgin with the Child Jesus, the robe has been repainted; on
the right, St. Bernardino; left, Michael clad in armour with
cheruhs’ heads on it. Signed, OPUS NEROCCII BARTOLOMEI BENE-
DICTI DE snnrs, MOCCCCLXXVL

Pellegrino di Mariano.
(148.) Two predelle, a little in the style of Fra Angelico.

Pietro di Giovanni (1438).

(140.) San Bernardino. All representations of this Saint
are more or less portraits, but this is evidently carefully
painted from life, every vein in the little pinched face stands
out clearly, Manifestavi nomen tuum hominibus. Signed,
PETRUS IOHANNI PXIT.

Room 10.

Contains cartoons by Beccafumi, and some very
interior pictures of other schools.

Room 11.

Of pictures belonging to foreign schools.

(102.) Paysage, by Domenichino, Florentine, 1581—1641.

(98—99.) Two Saints, by Fra Bartolomeo, 1475-4517.

(94.) Amore, Guido Reni, Bologna, 1574—1612.

(97.) Mary Magdalen, Peter Paul Rubens, 1577 — 1610,
Dutch.

(103.) Brazen Serpent, Palma Giovane, 1480—1528.

(36.) Beggars playing Mora, a picture very like one in the
Dresden gallery, Michel Angelo Caravaggio, Rom, 1569-1609.

'0

PICTURE GALLERY. 159

(389.) A good portrait of the Dutch School.
(22.) Head by Morone, Venetian (P).
(90.) Annunciation, Paris Bordone, Venice, 1501—1570.

Bernardino Betti (Pinturicchio, 1454—
1513}

(48.) *A circular picture of the Virgin and Joseph seated,
with San Giovannino and the Infant Christ walking arm and

arm. It is a little faded, but the children’s faces are exquisite,
and the picture one of the most pleasing in the gallery.

Pacchiarotto (Giacomo di Bartolomeo,
1474—1540)

A Virgin and Child with a little St. John and St. Francis.
The Giovannino holds a little cardinal, and the Child Christ is

Raphaelesque; altogether the picture looks more as though it
were by Pacchia.

Domenico Beccafumi (Il Meccherino,
1486-1551)

(63.) St. Theresa before the Crucifix; in front SS. Jerome
and Benedict. The picture is fresh, and the faces have more
character in them than in several of his works, approaching the

style of Fra Bartolomeo.
(64, 65, 66.) Little pictures by him.

Giovantonio Bazzi (Il Sodoma, 1473—
1549)

(85.) A Presepe. Joseph in yellow sits behind, thoughtful
and wondering, the Virgin with a lovely face clad in a deep
red tunic over which flows an ample blue robe, adores the Child
who reclines on the folds of the robe. To the left an angel,
with a massive face, a little recalling some of Luini’s paintings
at Milan, holds the child John.

(185.) A dull painting of a Pieta; the figures look very long

160 GUIDE TO SIEA’A.

and attenuated, and the heads with difficulty are got into the
picture.

(86,106.) Two pictures of the Virgin and Child between
Saints crowned with vine leaves. It is very faded. No. 106
has been varnished up.

(71.) Santa Catherine. on wood, restored.

(87.) A little picture for the Misericordia, two figures kneel
before a jewelled cross, the face to the right is good.

Room 12.

(377.) Deposition from the Cross, one of Sodoma’s best
pictures, coming from the Church of San Francesco; one of his
best pictures on canvas, but still showing a certain weakness in
composition.

(341.) A fresco of the Agony in the Garden; the same head
of Christ as in the Scourging at the Pillar.

(342.) Christ preaching to the Spirits in Prison ; somewhat
rubbed, but the figures of Adam and Eve are fine.

(356.) Judith with the head of Holophernes, a pleasing
little picture; for difference of treatment compare Botticelli’s

Florence.
Domenico Beccafumi, I1 Meccherino

(1486—1551).

(868.) St. Michael and the Rebel Angels; there is a good deal
of originality in the treatment, but the faces are weak. He has
painted a similar picture in the Carmine, the colouring is dim
and murky.

(378.) Christ preaching to the Spirits in Prison. He stands
at the door, Which has fallen and crushed a (lemon, and the
penitent thief is with Him. He is speaking to a crowd, among
whom are David and Adam; at the end of a vista of rocks is
seen John the Baptist leading another body of people. Figure
in front, Jonah.

(351.) Trinity, the two SS. John, Cosmus and Damian;
above, the Birth of the Virgin.

(351.) Baptism; a sketch.

PICTURE GALLERY. 161

Benvenuto di Giovanni (painting 1465—
1517;

(366.) An Ascension, painted in sober brown shades chiefly
relieved with gold, around are Angels With sweet faces, and
every kind of musical instrument ; below, the Virgin and Apostles.
The picture is signed, BEVENUTI Mccccnxxxxvr.

Girolamo di Benvenuto, pupil of the above.

A Presepe, with very strange heads.

Francesco di Giorgio (or Cecco di Giorgio,
1430—1506)

(369.) A very striking picture with vivid colouring, represent-
ing the Coronation of the Virgin. At the top of the picture
is the Eterno Padre, surrounded by the various Dantesque circles,

Di quel color, che per lo sole avverso

Nube dipinge da sera e da mane,
which form a halo round the head of Christ, who is crowning
the Virgin. She is dressed as an earthly bride and not in the
conventional robes of the Virgin. The two are on a plateau of
clouds lined with cherubs; around are Prophets and Angels, and

below, Saints, whose faces are well worth studying.

I (371, 372, 370.) Light-haired Virgins.

(365.) Virgin and Child, attended by SS. Ambrose and
Bernardino; behind, a ruined temple and landscape.

- G'rirolamo del Pacchia (1477—1535).

(373.) A very bright painting of an Annunciation, with the
Salutation of Elizabeth behind. There is an exactly similar
picture by Albertinelli in the Uffizi at Florence, which was
painted in 1503.

(374.) A Virgin and Child; weak.

0n the opposite wall :—
A circular picture which has suffered a great deal from
exposure, representing a Holy Family with St. Catherine.

Giacomo Pacchiarotto (1474—1540).
(395.) An Ascension, not unlike the one in the..Carmine;
the colouring is light and the faces a little weak.
M

162 GUIDE TO SIENA.

(296.) This picture, the preparation for the Crucifixion, is
sometimes attributed to him.

(344.) A little ancona, with a Virgin and Child in light

blue; Adam and a Saint; above, a Pieta with SS. Jerome and
Francis.

Balducci (Florentine painter).

(386, 394.) Virgin and Saints.

(388.) A predella, with a Pieta and SS. Francis and Catherine
receiving the Stigmata, is the best work of his in the gallery.
There is a very fine picture in San Spirito.

Bernardino Betti, Il Pinturicchio.

Virgin and Child and St. John on a diaper gold ground.
Holy Family, and two portraits.

Bernardino Fungai (or Fongari, 1460-
1530)

(381.) Jerome and Saints.

(379.) Assumption of the Virgin. The Etemo Padre is
weak, but the whole picture leads one to the figure of the
Virgin, who is seated in the centre with a Sienese countenance.
The colouring is dark, and gold is used to secure the high
lights. Below, SS. Bernardino, Francis, John.

In the predella, Michel, Catherine of Siena giving her
cloak to a beggar, Marriage of Cana, Presepe, Call of Peter,
Catherine of Alexandria, Tobit and the Angel.

Virgin with the Child to her breast, on a gold ground; the
dress has been repainted.

(299.) Virgin and Child, who stands on her knee and holds
a bird.

(382, 384.) Dark and very worm-eaten.

(345.) Virgin seated ‘on a throne, from which hangs white
drapery with rich gold filigree, her robe is very much he-
dimmed. Above, two angels bear a crown; below, SS. Sebas-

tian, Jerome, Francis and Cyprian, opus BERNARDINI FONGABII
DE SENIS.

SAN PELLEGRINO. 163

Riccio (Bartolomeo di N egroni, 1573).

His pictures here for the most part show the feebleness of
declining art.

Lanfranco (1580—1647), a Lombard.

(358.) Four heads.

Michel Angelo Caravaggio (1569-1609).

St. Sebastian.

There has lately been added a Virgin and Child
between SS. Nicolas and Antony, by Pietro
Lorenzetti, from St. Ansano in Dofano, in-
scribed PETRUS LAURENTI DE snms ME PINSIT
ANNO MCCCXXVIII.

Upstairs there is a good but badly arranged
collection of prints; the Albert Durer’s are
specially fine.

Next to the Belle Arti is the Church of
San Pellegm'no, originally Santa Maria della
Misericordia, of which there are records as early

124:0. It was restored in 1767. On the altar
some ivory carving of the thirteenth century.
In the ante—chapel, a picture of Beato Andrea
Gallerani, by Taddeo Bartoli ; and in the sacristy
pictures of St. Peter and. St. Paul, by some early
Sienese artist, of sufficient merit to be attributed
to Lippo Memmi.

Following the street upward one emerges in
the Via Cavour opposite the statue of Sallustio
Bandini, the first supporter in Italy of the prin-

ciples of free trade.
M 2

164 a UIDE T0 SIENA.

CHAPTER IX.
GATES AND NEIGHBOURHOOD.

1. The Porta Camolle'a, a contraction of Ca Mu-
lierum, dates from the fourteenth century. It was
decorated in 1604, from designs Of Casolani, in
honour Of Ferdinand di Medici, Whose arms it
bears. The legend “ Cor magis tibi Sena paudit,”
bears witness to the hospitality of the Sienese.
The road runs along beside the Piazza d’Armi to
the Antiporta, which was built in 1258, and re-
stored in 1675. On the outer side is an old head
of the Virgin surrounded by frescoes by Nassini,
1699. The whole of the intervening space before
the year 1554 was a flourishing suburb; but in
this year the houses were so shattered by a night
attack of Cosimo di Medici and Charles V., that
in 1556 Cardinal Mendozza had the whole space
cleared, and all that now remains is the pillar
with the inscription recording the reception of
Frederic III. and his spouse Eleanor Of Portugal
by Eneas Silvius Piccolomini, then Bishop of
Siena. This is introduced by Pinturicchio into
one of the frescoes in the Library.

About half a mile outside the Antiporta is the

PORTA OVILE’. 165

Palazzo dez' Diavoh', a weird building with Turkish
heads upon it. The chapel beside it has a very
beautiful iron grill, and over the altar a bas-relief.
The architecture of both chapel and palace is
generally attributed to Antonio Federighi.

2. The Porto San Lorenzo has been destroyed,
and only the opening remains, by which one enters
the town when coming from the station.

3. Porter 022278. The sheep-gate, a small gate
under San Francesco. To reach it one turns down
the steep little street Via di Vallerossi leading out
of Via Oavour. After passing the quaint little
Church of St. Roc, belonging to the Oontrada of
the Lupa, one may turn to the left, and in a little
grassy square stands the Fonte Nuova, a very
picturesque construction with Gothic arches. On
the gate is a picture of Christ on the Cross, of the
01d Sienese school. Outside, the road immediately
to the right leads down to the Porta Pispini, so
one had better continue in a straight road. Below
to the right is another fountain like the Fonte
N nova.

On passing the gasworks the Convent of the
Osser'vanzct comes in sight, about 1% mile from
the gate, standing up conspicuously on a small hill.
After crossing the bridge in the valley, the carriage
road sweeps away to the right over the railway,
but pedestrians may take the steeper ascent, which
goes under the railway, and was originally the

166 GUIDE TO sIENA.

pilgrims’ path up which were placed the Stations
of the Cross. In the little chapel at the bottom,
Sta. Maria della Croce, there is a fresco of the
Crucifixion, in a bad state of repair, begun by
Giomo del Sodoma, and finished by Riccio in
1519.

On reaching the Convent one rings the bell, and
the sacristan, a lay brother, lets one into the
Church. Those who wish to go over the Convent
must understand that only men are allowed to
enter. The church and crypt are open to all.

There existed in 14104; a small hermitage which
was handed over to San Bernardino, who built the
original church in 1423. Pandolfo Petrucci after-
wards, in 1489, hoping to expiate his crimes by
ecclesiastical building, had it enlarged from
designs of Giacomo Cozzarelli.

Beginning to the right :—

(l.) The statue of St. Antony, by Cozzarelli. There is some
talk of removing it; it may perhaps be placed in the crypt.
Below, a fruit bordering of the school of Luca della Robbia.

(2.) Crucifixion, with SS. Jerome and John the Baptist, by
Riccio, but considerably retouched in this century by Monti.

(3.) Triptych, Virgin and Child between SS. Ambrose and
Jerome. In the cusps above Christ, SS. Peter and Paul, by
Sane di Pietro, bear the date MCCCC36; others attribute it to
Sassetta. The inscription says, “ Manus Orlandi fieri fecit hanc
tabulam cum tota cappella.”

On either side of the arch in the centre, the Angel and
Virgin of an Annunciation, but the pose and expression both

bespeak the hand of some pupil, and not Della Robbia. Under
the high altar is a most beautiful reliquary, containing relics of

ossm VANZA. 167

San Bernardino, made by Giovanni and Lorenzo Turini. In
the choir, from which many illuminated missals have been re—
moved, is a picture of St. Elizabeth of Portugal, by Benvenuto
di Giovanni. St. Bernardino, signed OPUS PETRI IOHANNB.‘
mccccxxxvm.

On the north wall :—

(4.) SS. John, Francis, Peter, and John the Baptist, bearing
the date 1413, by Taddeo Bartoli. The predella is very good,
by Sano di Pietro.

(3.) Virgin between St. Bernard and St. Jerome, very much
rubbed, Sano di Pietro.

*(2.) The Assumption of the Virgin, MARIA vmeo ASSUMPTA
EST A DETIIEREUM THALAMUM. In reality it should properly be
called the Coronation of the Virgin, for in the predella we have
the Annunciation, Nativity, and Assumption. It is the most
splendid piece of work Luca della Robbie. ever did, and every
face is exquisite. It is only to be regretted that the monks at
the end of the last century cleared away other works of his, to
make room for the pictures now upon the altars. This altar
belonged to the Malavolti, who had the taste to insist on its
being left intact.

(1.) The Virgin surrounded with Angels. The face of the
Virgin and of the Angels, together with the hem of the robe, are
untouched, the rest have been daubed over. Below, a frieze of
fruit of the school of Luca della Robbia.

On the roof are two terra-cotta busts of St. Louis and St.
Ambrose, in wreaths of flowers. These are probably by Cecco
di Giorgio.

The wood-work in the sacristy is by Barili ; the terra-cotta
Pieta, by Antonio Federighi.

We now descend into the crypt. In the» first
chamber is the tomb of Pandolfo Petrucci and
his family; in the next, which was the original
church, have been many frescoes, some of which
remain in a more or less dilapidated condition.

168 GUIDE TO SIENA.

The best represents St. Jerome and a hermit, and
in the centre the Last Judgment by Pacchiarotto.
These are behind the cell of San Bernardino.

A longer excursion from Porta Ovile is to
Pontignano, an old Carthusian monastery, about
six miles from the town, founded in 1343. There
is a vast extent of building, now inhabited by
a few contadini, who can supply wine and,
in summer, fruit. The Church is frescoed all
over by Poccetti, a painter of San Gimignano,
whose also are the various frescoes in the
cloisters. They are of a late period, but the
colouring is fresh and pleasing. In the sacristy
a Marriage of St. Catherine, a good picture of
the Florentine school, and in the chapel a
Crucifixion, by Vanni, suggesting the one in San
Giorgio.

(4.) Porta Pz'spim', anciently known as Porta
San Viene, it being the gate the people went out
of to meet the body of St. Ansano. The erudite
Italians declare that Pispini is a contraction for
Porto San Viene ; it may be so, but I am at a loss
to follow the philology. It dates from the twelfth
century. In 1530 Sodoma painted a Nativity on
the outside, which has almost entirely perished,
though one or two beautiful cherubs remain. He
has introduced his own portrait as an old man.
Hence one may go to Sant’ [172861-720 m Dofcmo
(9 miles), and the battle-field of Montapcrio, both

MONTAPER T0. 169

of which lie in the volcanic mud country. The
carriage-road goes to the right, there is a short
cut to the left for pedestrians. On reaching the
bottom of the hill, one takes the road under
the railway arch, and follows it to Taverna d’Arbia.
Those who like may cross the bridge and follow
the road to Arezzo, till they have twice crossed
the railway, and then turn up to the left. A more
pleasant way is not to cross the Arbia, but follow
a lane to the left, which leads straight to the
parish church of Sant’ Ansano. Here there is a
little picture of a Virgin and Child, by Baldassare
Peruzzi. The face and figure of the Virgin are
very pretty, though the left arm and shoulder
may be a little out of drawing, the position of the
Child is too old. The other church, built on the
site of the Martyrdom, now contains nothing.
Another mile and a half brings one to the Villa
of Montaperto. The country round consists of
mounds of clay, and in places the soil is very red,
the country people say it has been dyed with
blood. An Italian who visited the spot asked one
of the peasants what he knew about the place, and
he replied, “ Do you see that red soil ? No blade
of grass ever grows there. It turned that colour
long, long years agone. There was a great battle
there, and great shedding of blood. I have heard
my father say, and he heard his grandfather say,
that sometimes after midnight one may see white

170 GUIDE TO SIENA.

dogs run hither and thither in the moonlight, and
from time to time send forth howls like lamenta-
tions.” Such is the local tradition of—

L0 strazio e ’l gran sccmpio
Che fecc 1’ Arbia colorata in rosso.

(5.) Porta Romana, known up till 1327 as Porta
Martino. On the outside, a fresco of the Corona-
tion of the Virgin, begun 1416 by Taddeo Bartolo,
continued by Sassetta, and finished 1447 by Sano
di Pietro. It bears the legend :—

O regina Patri snmmi dignata corona
Perpetuo Scnam rcspice Virgo tuam.

A little way down the road is the Church of
Santa Maria deg/Ii Angz'olz', with a good facade.
In 1390 it is mentioned as a convent church. In
the choir there is a picture in a good frame, by
Barili. It represents a Virgin and Child en-
throned, and at the sides SS. Mary Magdalen,
Jerome, John and Augustin. On the predella,
various Saints and an Adoration of the Magi.
Above, a Dio Padre, signed RAPHAEL DE FLO-
RENTIA PINXIT 1502, who is a painter but little
known. The banner is by Riccio.

Those who want a short walk may turn to the
left immediately outside the Porta Romana, and
continually bearing in that direction will reach
the Porta Pispini. Those who desire a longer one
may make over to the Quattro Torri, a strong

PORTA FONTEBRANDA. 171

castellated villa, which in mediaaval times must
have served as a fortress.

(6.) Porter Tufi, has already been mentioned in
connection with the cemetery.

(7.) Porta San llIarco. The gate in itself has
nothing interesting in it, but the platform imme-
diately outside it affords the most beautiful View
of the country, stretching far away to Monte
Amiata. The near convent building is Munistero,
and the little block of rock that stands 11p more
to the right is Belcaro. The carriage-road winds
round and round down the hill to the left, but
there is a short cut to the left. At the bottom it
joins the other road coming from the lower part
of the town, and since all excursions are of about
the same length from this or the next gate, one
may next mention—

(8.) Porta Fontebranda, in the gully between
San Domenico and the Cathedral. It owes its
name to the fountain with Gothic arches just
inside the town among the tanyards. The pre-
sent gate was built in 1255, and is known to
history through the ‘Inferno,’ where Dante men-
tions it—

Pcr Fontebranda non darei la vista.

The'road on leaving it goes rapidly down, and
turning to the right at a small bridge joins the
other at the bottom of the hill.

172 GUIDE TO SZENA.

Mum'stera—This monastery, which was known
as Sant’ Eugenio, is one of the oldest in Tuscany,
being founded in 731 by Warnafred Castaldo for
the Lombard king Luitbrand. Up till 1786 it
belonged 'to the Benedictines, when it was sup-
pressed by Napoleon. In 1553, in the last great
struggle for Sienese liberty, it was fortified by
Strozzi. It now belongs to the Griocioli family,
one of whom in 1819 restored the Church. This
can always be seen by visitors, but the other parts
of the house are generally closed. It contains
some very fine pictures of the Sienesc school. As
the custode supplies a printed list, only the best
will be mentioned here. In the centre of the
right wall a Deposition from the Cross, by
Pacchiarotto, not equal to some of his other
works. Near the altar on the same wall a Re-
surrection, by Matteo di Giovanni; very interest-
ing, as frescoes by him are rare. Then in the
chapel to the right of the high altar, a Virgin
and Child, by Fra Angelico.

On the high altar, the finest picture Matteo di
Giovanni ever painted. It has been considerably
retouched, but the angels are very beautiful. It
represents the Assumption of the Virgin, who is
seen floating through the air surrounded by
seraphs, below is a clear space and a landscape;
the only spectator is St. John, who receives the

BELC'ARO. 173

loosened girdle. It was painted for the Church
of Sant’ Agostino at Asciano in 1474. The paint-
ings at the side are by Taddeo Bartolo. Over
the altar of the left chapel a Virgin and Child,
in the style of Memmi, by Bernardino di Pietro,
of the fifteenth century; it is a work of great
merit, and equal to the Fra Angelico on the
Opposite altar. On the left wall a fresco of the
Crucifixion, also attributed to Matteo di Giovanni,
possibly by Benvenuto.

Edema—Originally a fortress, dating from
1199, then turned into a villa from designs of
Baldassare Peruzzi. It affords a most mag-
nificent view, especially looking back towards
the town. 011 the ceiling of the entrance hall
is a Judgment of Paris, by Baldassare Peruzzi,
and some handsome wood carving. The chapel
has over the altar a Virgin holding the Child in
one hand and a book in the other, in which she
is attempting to read, she is surrounded by Saints;
above are smaller pictures, and on the ceiling are
the Four Evangelists. The colouring is faint and
the drawing weak, especially of the necks. In
the adjoining corridor there is some decorative
painting as beautiful as one may wish to see.
Birds and insects, flowers and fruit, of every
description.

The decoration would have gained, as a whole,

174 GUIDE TO SIENA.

had Peruzzi confined himself to these natural
sketches, and not filled up the centre with
Europas and other nudities.

All these pictures were restored in 1870.

Leccetto lies nearly five miles from the Porta
Fontebranda, and is one of the prettiest walks
in the neighbourhood. One follows the Belcaro
road until a bridge over a stream is passed.
From this point one must keep to the main road
for three miles, though at every corner there are
short cuts one may make. Then a rough road is
reached which leads up through the woods to the
Convent, which has a position a little like the
Certosa near Florence, and looks very picturesque,
with a campanile by Baldassare l’eruzzi. The
site was originally occupied by a church known as
San Salvatore in Selva, around which there was a
battle between the Sienese and Florentines in
1082. It afterwards became a convent for Bene-
dictine hermits from the year 1228—1387, when
it passed over to the Agostinians. The name
Leccetto is a corruption of the Latin Ilicetum,
referring to the grove“ of holm oaks with which
the Convent is surrounded. It was suppressed
by the first Napoleon, and now belongs to the
Archbishops’ Seminary.

One knocks at the principal door, and is ad-
mitted into a large quadrangle, on the right of
which is the Church, dating from 1317. Over

LECCETTO. 175

the door is a Christ in the act of blessing, by
Ambrogio Lorenzetti. The better pictures have
been removed from the interior, and there remain
only a St. Peter, by Raphael Vanni, and two pic-
tures by Rustichino and Petrazzi. Artistically the
chief interest lies in the cloister outside, which
is covered with frescoes in Chiaroscuro, by Paolo
di Neri, a pupil of Ambrogio Lorenzetti, who has
here followed his master very closely; so good are
they that they suggest a careful supervision by
Lorenzetti, even if he did not do anything towards
their design or execution. A copy of them may
be seen in the Belle Arti. To the right is the
Inferno, to the left Paradise. On the centre wall
are painted Opere della Misericordia, and Apo-
cryphal acts of Christ. These are to the left of
the door of the Church, to the right are the Seven
Sacraments and the Vicissitudes of Human Life,
giving a sketch of the wars of that period. On the
wall facing the entrance, a fresco of St. Augustin,
rebuked by Christ in the form of a little child
trying to measure the ocean with a spoon, for
hoping with his finite mind to understand the
doctrine of the Trinity. The colonnade around is
due to Jerome Piccolomini. Passing through a
pretty little Cloister, one reaches another big one,
on the walls of which are painted, in Chiaroscuro,
the Growth of the Order of Agostinians, dating
from about 1440.

176 GUIDE TO SIENA.

Over the little chapel is a double-reading
inscription :—
Qnos angnis (lirus tristi dc vulnere stravit
Hos sanguis mirus Christi dc funere lavit.

Quos tunc tentator mortali sortc peremit
Hos nunc salvator crudcli mortc redemit.

At the end is the refectory, containing a Last
Supper by Nassini. In the vestibule the portraits
of Popes and Saints who have lived in the convent.
The Virgin in this room, a work of the fourteenth
century, is specially sacred.

There is another good walk in this direction to
San Lorenzo in Lago ; one passes the turning up to
Leccetto and follows the main road till one is about
five miles from Siena, then a turning through the
oak woods brings one to the Convent. It was
built in 1119, and followed the same course as
Leccetto, being first Benedictine and then Agos-
t-inian. It was suppressed in 1783, and now but
little remains beyond the church, the tower built
as a protection against the guerilla bands in 1336,
and a fragment of the Convent now used as a farm-
house. The frescoes in the Church are very in-
teresting. To the left of the choir are some scenes
from the life of the saint, lately recovered from
the whitewash, and on the walls of the choir an
Annunciation, Presentation in the Temple and
Marriage of the Virgin, by some Sienese painter
of the fourteenth century; they look very much

F"

MONTE 01. II'ETTO. 1 a 7

as though they were by Pietro Lorenzetti. On the
ceiling are choirs of angels. To the left of the
nave a flight of steps leads down to a little sub-
terranean chapel frequented by Sant’ Agostino
Novello, the minister of Manfred, who died at
this Convent in 1309.

Those who want to lengthen the walk may
continue to the Villa Colomba, belonging to the
Tolomei, and designed by Baldassare Peruzzi; a
road returns thence to Porta Camollia in about
seven miles.

ZlIomfe OZ-z'velto Maggiore.—There are three ways
in which this Convent may be reached from
Siena :—

(1.) One may drive there straight. It is about
twenty—two miles, and the country one passes
through is of that bleak volcanic nature, that it
is very hot in summer, and cold in winter. The
only object of interest upon the road is the little
town of Buon Convento, which lies very pictur-
esquely within its walls.

(2.) One may go by train to Asciano, the next
station to Siena, and walk or drive thence. The
best carriages are kept by Signor Dini, Albergo
del Sole.

1430221710. The train passes above the town and
proceeds to the station of Asciano, some mile or
more distant. The Government quarrelled with

‘ N

178 G UIDE T0 SIENA.

the town authorities, and put the station there
tospite them.

One enters the town by an old gate; to the
left are two coats-of—arms :-——Nicolai Andrea,
MCCCCLxxxvnI ; Bandini Bandinelli, MDCXI.
Within, to the right, the Coilegz'ata, which was
under repair in 1883. On the north wall, out-
side, there are the remains of a Crucifixion and
a Pieta, in Chiaroscuro, by Ambrogio Lorenzetti.

In the choir, a Virgin and Child, attributed to Mino di
Pellicciaio. The Four Apostles, of the Sienese school.

On the left wall, Birth of the Virgin, by Sassetta.

In the left transept, an *Assumption of the Virgin, by Giovanni
di Paolo.

In the sacristy, an Annunciation, by Ambrogio Lorenzetti.

In the little church Opposite the Collegiata
there are lunettes round of the Passion, with a
date MDCLX. On the roof, St. Barbara adoring
the Cross. In the sacristy, a St. Sebastian, of the
old Sienese school, inscribed “ Sancte Sebastiane,
nobis viscera sana.”

Proceeding hence down the main street, one
comes to the Palazzo Comma-Hale, covered with
tablets in mourning for the death of Garibaldi
and Victor Immanuel. Then further, a very
picturesque clock tower, and a fountain with
arms and a date 1404.

Sam? Agostino on the right of the street.

On the altar to the right an altar-piece with the centre
missing, which looks as though it had been made up. Above, a

ASCIANO. 179

Padre Etcrno and an Annunciation. At the sides, SS. Ber-
nardino, Barbara, John the Baptist.

On the high altar, Virgin and Child, Domenico di Bartolo.

On the left, Adoration of the Shepherds, with Saints at the
side, Giovanni d’Asciano.

The walls of the town are very picturesque
when looked at from the lower end, but, as they ,
tell one, the place is a “paese morto,” and very
unhealthy to boot, if one may judge from the
dreadful affection of the eyes from which most
suffer. Up above the town stands the fine church
of San Francesco.

The interior was once entirely frescoed by Giovanni
d’Asciano, the pupil of Berna. (in the right wall may still be
seen a Padre Eterno, St. Barbara, Martyrdom of St. Bartholomew,
and below St. William, St. Peter, and another Saint. Near the
first altar, a Crucifixion and Resurrection, *Agony in the Garden,
Kiss of Judas. In the chapel t0 the right of the altar, a graphic
fresco, in good condition, of the Martyrdom of St. Margaret.
In the chapel to the left of the altar, a Virgin and Child, of
the school of Memini. There are a few other fragment-s. But
apart from these the Church is well worth visiting for the
*Holy Family on the first altar, a work in glazed terra cotta

by Ambrogio della Robbia, one of his finest works, in a beau-
tiful frame of fruits.

(3.) One may go to San Giovanni d’Asso, the
first station on the Grossetto line, whence a barren
walk of some four or five miles takes one to the
Convent. San Giovanni is a very small place,
without an inn or any means of getting a convey—
ance or food. As one walks up to the town, one
passes a very quaint little church, with some very

r: 2

180 GUIDE TO SIL‘NA.

early carving over it, and beneath it is an earlier
church, now a crypt. There is one small Gothic
palace, now in a state of decay.

Monte Olivetto Maggiore.—-The Convent of
Monte Olivetto was founded by St. Bernard. He
was a scion of the powerful house of the Tolomei
of Siena, born in the year 1272. In his youth
he distinguished himself as a soldier, and after-
wards gained great celebrity as a jurisconsult;
an affection of the eyes, which rendered him
almost blind, turned his mind to more serious
thoughts, and in 13 3, having promised to meet
an assembly of citizens, and expound to them
any knotty point of the law, he came before
them, and aftir pronouncing an elation on the

vanities of the “011d, withdiew to a hill some
twenty-six miles horn Siena, and led the life of
a hermit, in the company of Ambrose Picco-
lomini and Patrizio I’atrizzi. Soon a small band
gathered around them, and after exculpating
themselves before Pope John XXII. of accusations
of heresy, founded the order of Bernardines, and
began to build their convent under the auspices of
Tarlati Pietramala, Bishop of Arezzo. The chro-
nicles of the Convent say that the Bishop had
a dream in which he saw the Virgin surrounded
by Angels, in a robe of dazzling whiteness, who
spoke to him expressing her wish that the order
should be founded, and should wear white robes.
Then she presented to him three little mounts

ST. BERNARD. 181

surmounted by a cross, out of which grew sprigs
of olive, saying that these should be the arms of
the Convent, and that its name should be called
Monte Olivetto.

The order followed the rules of the Benedic-
tines, and St. Bernard, after twice refusing, was
made its general, a post which he held till his
death in 1348. It was the year of the great
plague, and fear had fallen on all, so that the
sick were left to die alone, and the dead were left
unburied. Bernard and his monks saw their duty
before them, and leaving the safety of Monte
Olivetto, returned to Siena to minister to the
sick, a sacrifice which cost the life of Bernard, and
of twenty-four of his brethren. The life he had
ordained was a severe one, the brothers rarely
spoke except in the services of the Church, their
beds were hard, they had but one garment, and
their fare the most simple; when not engaged in
religious duties, they worked with their hands to
have wherewithal to adorn their monastery. It
was one of the best organised brotherhoods, and
soon possessed many of the monasteries in Italy
and beyond the Alps, but these were not out off
from the central fountain, and annually came in
streams to hold a general council, the third
Sunday after Easter. Thus it continued a centre
of monastic religion, and a great educator in the
arts and sciences, until 1810, when it was sup-
pressed by Napoleon.

182 ‘ GUIDE TO SIENA.

One follows the road until one comes to the
entrance, which is guarded by a strong tower,
known as the Palazzo, built in 1393 to protect
the Convent from the inroad of robbers. Tasso
describes it,

8’ erge la Torre qui che guarda i1 passe
La dove i1 (lerso in un si spicea o fende

Vi e le gran fosse eve sespinta si basso
L’ acqua pur come (1’ alto i1 Nil discende.

On the outside is a Virgin and Child with
Angels, an inferior work of the school of Della
Rebbia; on the other side a large figure of
St. Benedict, holding the book of rules, “ Ansvulta,
o fili, precepta magistri et inclina aurem.” Hence
one descends by a path which tells one the
locality is almost deserted, as the grass grows be-
tween the stones, and all around looks unkempt;
and then, passing the fish—stew, one comes to the
Convent itself. The entrance is at the further
end of the building, where a short passage leads
into a quadrangle. To the left is another passage
which leads into the principal eloister, where the
great frescoes are. One may first visit the chapel,
which is in the far right-hand corner. It was
built in Gothic style in 1399, under the super-
vision of Agostino and Agnolo da Siena, but the
interior was ruined by recoco work in 1778.

Within there is nothing to attract one beyond the marque-
terie of the stalls. The original ones were carried to Siena in

1813, where they may now be seen in the Cathedral. Of those
now in the church, thirty are the work of Fra Giovanni of

THE CHURCH. 183

Verona, of the end of the fifteenth century, and came from the
Church of St. Benedict at Siena, which was destroyed to make
room for the cemetery ; the others are partly old ones, and partly
of inferior work. The two figures are St. Benedict and St.
Gregory, and one may recognise one or two familiar scenes.

The stall work at the other end of the church dates from
the seventeenth century. The frescoes have gone, but ancient
records speak of many works, by Taddeo Bartolo and others.

Over the altar in the crypt is a fresco of the Adoration of the
Magi, by Riccio ; in the chapel of the De Profundis, faint traces
on the wall of frescoes by Perri, the son of Spinello Aretino.

On leaving the church one is in the chapter. On the wall
before one is a fresco of no great merit, by Riccio, Christ
bearing His Cross, and under it, FRANGOR MGESTITIA PREMIT
INTOLERABILE PONTUS AGGRAVATIS cums CRIMINA PENDO MALA.
On the wall are frescoes of Hermits With a date A°.D'. MOCCCCXL
MENSIS APRILIS, and below, a tomb, with a recumbent figure,IN H00
TUMULO IACET DM THUME DE PETRONIBUS DE TREVIO SCRIPTORIS
A’PLICE ANO DNI 1462. Two pictures, Christ and St. Veronica
and a Pieta, Beccafumi.

One then passes toward the great works of
Sodoma and Signorelli in the chief Cloister.
Before entering it, one comes to a fresco, on the
left, of St. Benedict giving the rules to his Order,
a picture which it is interesting to compare with
the one in San Pietro Casinensis at Perugia. On
the wall of the arch, Christ at the Pillar, OBSECRO
FIXA MEUM SPECULENTUR LUMINA VULTUM.
VESTRA QUIBUS NOSTRO EST SANGUINE PARTA
SALUS. Sodoma has here painted the figure of
Christ alone, the position and the face are very
similar to the one which was in San Francesco at
Siena, and is now in the Belle Arti, but that is a
work he painted later, and is decidedly superior

184 GUIDE TO SIENA_.

to this one. One then comes to the Life of St.
Bernard, painted by Sodoma in his youth, in
1512 A.D., but containing some beautiful work;
he was paid £15m for these frescoes.

(1.) How Benedict leaves his father’s house, and goes to
study at Rome. (The scene is laid at Noreia). Benedict is
mounted on a spirited horse, and attended by his nurse Cyrilla
on a mule; he is bidding adieu to his mother, who stands at
the door with his sister, Saint Seholastica, whose attention is
entirely taken up by a little dog. The whole of the painting
shows the influence of Pinturicchio.

(2.) How Benedict leaves the school at Rome. Disgusted
with the manners of the scholars, Benedict is soon going out of
the school to the right; to the left the Castel Sant’ Angelo.
The faces in this fresco are not very pleasing.

(3.) How Benedict mends the broken sieve. To the left is
seen the interior of the house, and without, Benedict is praying,
with an upturned face painted with one of Sodoma’s mest angelic
expressions. To the right is a man on horseback in knightly
robes, this is Sodoma himself, the female figure is that of his
wife, and the little child is his daughter, who afterwards mar-
ried Riccio. There are various dogs and guinea-pigs present,
not very Well drawn.

(4.) How the monk Romano gave Benedict a hermit’s garb.
These two form the principal figures; behind, Benedict is seen
reading, and there are two shepherds, one of whom plays the
mandolin.

(5.) How the Devil breaks the bell. St. Benedict has con-
siderably increased in years, and is sitting alone in his cell;
another monk, St. Romano, above is letting down food to him by
a rope to which a little bell is attached ; to the left of the picture,
wrapped in a dusky whirlwind, is a fiend who has just broken
the bell. To the right a badger drinking at the stream.

(6.) How a priest inspired of God brings food to St. Benedict
at Easter. The fresco is divided by a window, at the side of
which are two saints’ heads. In the centre on the vaulting the
figure of Christ, who looks towards the priest on the right, and
with His hand points towards Benedict. On the left-hand side

THE SODOMA FRESCOES. 185

the priest kneels before him while he eats, and alittle chorister
pours out wine for him.

(7.) How Benedict instructs the country people who visit
him in the Scriptures. The head of one of the old boors is
very fine, and the attitude of the shepherd most graceful.

(8.) How Benedict tempted to impurity overcomes the temp-
tation. On the left the saint sits on a stone, his face manifest-
ing a mental struggle within ; to the right the fresco has been
somewhat rubbed, but it represents him rolling in thorns, above
is seen an angel driving away a demon.

(9.) How Benedict yields to the prayers of certain hermits,
and consents to become their head and abbot. To the left a
string of hermits kneel before him; to the right in the distance
he is seen ordering the hermitage of Vicovara.

(10.) Tradition has given a dramatic touch to the life of the
saint, he is supposed to have had an enemy in a priest called
Florenzo, who tried to thwart him in every way and then to kill
him. This fresco represents, How Benedict with the sign of the
Cross breaks a glass of poisoned wine. The surprise of the monks
is very expressive.

(11.) How Benedict builds twelve monasteries.- After his
return to Subiaeo he founded twelve monasteries and appointed
an abbot for each. Here is painted the rearing of a splendid
building, with Benedict giving directions. The faces are so
vivid that Signor Thomas supposes them to be portraits.

(12.) How Benedict receives the two youths, Maurus and
Placidus. It is a picture with a very great number of figures
in it, and with every variety of feature. Those of Maurus and
Placidus are particularly beautiful, and recur frequently in the
following frescoes.

(13.) How Benedict delivers a monk from an evil spirit by
beating him. To the left, Benedict is seen with his young
pupils; beyond, the monk is wandering out with an idiotic
expression, while a demon drags him by his robe; t0 the
right, Benedict is beating him, and the disconsolate demon is
seen flying away above.

(14.) How Benedict at the entreaty of monks produces
water on the summit of the mountain. The scene is laid at
Monte Cassino; to the left are the monks begging him to help
them; the boy faces are particularly beautiful. To the right

.186 GUIDE TO SIENA.

above, the monks are seen digging, and the stream flows down
the mountain side, where animals are drinking. Benedict prays
the While with Placidus.

(15.) How Benedict makes a sickle which had fallen into
the lake return to the handle. There are several scenes in the
fresco. To the left, Benedict consecrates a young monk. Then
Frate Gotti is cutting the brushwood at the side of the lake,
and the head of the sickle falls into the water. In the centre
he is begging Benedict to recover it for him. Then to the right
Benedict does so; while in the corner is a lively scene of men
bathing.

(16.) How Maurus sent to save Placidus walks on the water.
To the left, Benedict sends Maurus; to the right, he is walking
on the water, pulling Placidus after him, who has evidently got
out of his depth in trying to fill the pitcher he has in his hand.
At the back, Benedict blesses the two.

(17.) A fresco divided in two by the door. The subject is
a. little difficult to make out, but must have some reference to
the machinations of Florenzo. To the left, a peasant brings
Benedict a Tuscan bottle; to the right, the same figure is
seen looking in a state of horror at a snake which is issuing
from the bottle.

(18.) How Florenzo tries to poison Benedict, apparently
with a toadstool. The toadstool or poisoned bread is being
given to a messenger on the left; the meSsenger presents it;
Benedict declines the dish. The animals smell it as it lies on
the ground.

(19.) How Florenzo sends evil women to the monastery.
To the left are seen Benedict and his monks; to the right,
the courtyard is full of dancing girls. A very fine picture,
and the female forms very graceful.*

With this ends the first series of Sodoma’s paintings, the
next one is by his pupil and son-in-law, Riccio.

(20.) How Benedict sends Maui-us to France, and Placidus
t0 Sicily. An inferior painting, and very much faded.

The rest of this wall was painted by Luca Signorelli in

x
* The figures were originally nude, but at the monks’ request
Sodoma clothed them.

 

SIGNORELLI FRESCOES. 187

1505. Those who know his frescoes at Orvieto will be a little
disappointed with these, from the fact that owing to exposure
to the weather they have very much lost their colour.

(21.) How God punishes Florenzo. The luckless priest is
seen being dragged through the air by demons who are beating
him, while others are engaged in hurling down his building.

(22.) HOW Benedict preaches the Gospel to the inhabitants
of Monte Cassino. As usual Signorelli had his Dante in mind,
and painted this fresco as a comment on the text

E io son colui che su vi portai prima
Lo nome di colui, che in terra addusse
La verita che tanto ci sublima.

Benedict surrounded by monks is ordering the destruction
of the temple of Apollo ; the work of demolition is proceeding
to the right. Above, a demon flies ofl‘; nothing delights
Signorelli more than to be able to introduce one of these bat-
winged fiends.

(23.) How Benedict drives ofi' a devil from the top of the
stone. In front the monks are straining every nerve to raise
the stone on which the demon is couched. Behind to the right
the monks are busy quenching a fire the devil has lighted.
The group to the left at the back are very expressive, but the
subject is a little hard; they seem to be standing round the
grave of a monk who is hugging a demon.

(24.) How Benedict revives the young monk on whom a
wall had fallen. The colouring of the fresco has suffered very
much. Behind to the left is the monk falling, with a demon
pushing down the wall upon him. In front of this, the monks
are sorrowfully bringing the dead body to Benedict. To the
right, he resusdtatcs it.

(25.) How Benedict tells the monks when and where they
have eaten outside the monastery. This is a subject well suited
to Signorelli, he has painted two monks sitting in the room of
a house, enjoying an excellent meal to which two damsels are
assisting them. The door is half open and there standsa young
man with his hat poised with ajaunty air upon his head, keeping
watch to see if anyone be coming.

(26.) How Benedict reproves the brother of the monk

188 - GUIDE TO SIENA.

Valerian for having broken his fast. To the right behind, the
youth is starting along the road with a rakish-looking com-
panion who has some provisions slung behind his back ; to the
left, the two are seen sitting by a spring, having a meal. The
principal part of the picture is taken up by Benedict, with three
monks, who is chiding the youth.

(27.) How Benedict recognises the sham Totila. This fresco
has kept its colouring better, and is full of life. Behind is
seen the camp of the Goths and the groom Riggo practising
to play the rote of Totila. In front he is kneeling before the
saint, attended by Goths. Benedict, who has monks with him,
bids him lay aside the garments which do not belong to him.

(28.) How Benedict recognises and receives Totila. Totila
kneels before him and receives his right hand, while the saint
is foretelling his fate. This is the best of these frescoes, the
faces and figures of the young soldiers are vigorous and good.

On the next wall one returns to Sodoma. These were the
first frescoes he painted in the convent.

(29.) How Benedict predicts the destruction of Monte Cas-
sino. The picture shows one the destruction of the convent,
and Sodoma has again introduced some of his spirited horses.

(30.) How Benedict obtains an abundance of corn, and
restores the monks. The fresco is divided into two parts, to
the left one sees Benedict with sacks of flour, to the right a.
very spirited picture of the monks in the refectory. Notice
the innocent one who is withdrawing his neighbour’s bread.

(31.) How Benedict appears to two monks far away, and
designs a monastery for them. To the left, two monks asleep
in bed with the moon shining brightly into the room, Benedict
stands before them with a church. To the right the building
of the church.

(32.) How Benedict excommunicatcs two nuns, and absolvcs
them when they were dead. The scene is laid in a church;
the old man’s head is striking, and the two children with the
dog a pleasant touch.

(33.) How Benedict had the sacred wafer carried to the
body of a monk which the earth would not receive. The wafer
is being placed on the body; behind are seen two greyhounds
chasing a hare.

THE 0L OISTERS. 189

(34.) How Benedict pardons the monk who, wishing to flee
from the monastery, found a serpent in the way. To the right
the fugitive monk meets a most imposing dragon. To the left
he kneels before Benedict for pardon ; at the side, Placidus.

(35.) How Benedict frees a captive who was bound to a
soldier. 0n the right one sees the horsemen riding down the
country people, on the left Benedict is looking at a man, bound
between two soldiers, whose chains are falling off. This is the
last fresco, and recalls to one’s mind the Freeing of the Heretic,
by Giotto, which is the last fresco in the life of St. Francis at
Assisi, but the treatment is different.

The little scioscuro pictures between these frescoes are
Sodoma's, but they remind one of the various little mythical
scenes by Signorelli which form part of the ornamentation of
the lower part of the wall in the Chapel of the Madonna di
San Biagio at Orvieto.

The cloister to the south of this one was built
in 1451, but has nothing in it beyond a Virgin
and Saints in terra cotta, an inferior work of the
Della Robbia school.

The smaller cloister was added in 1459. As
one wanders through the deserted building, from
time to time one comes on frescoes more or less
damaged and of little value. Ascending the
staircase in the second quadrangle one comes
to a fresco of the Coronation of the Virgin, by
Sodoma ; and above, another one, parts of which
are supposed to be his work. In the big room
used for meetings of the Chapter is a fresco of
the Woman taken in Adultery, by Riccio, which
recalls more of his master’s style than most of
his paintings, but the background is inferior.

In the west corridor is the room of the general

190 GUIDE TO SIENA.

of the order, it contains an old fresco of St. Peter,
and a very beautiful Madonna by Sodoma, and a
St. Michael very much damaged.

In the vestibule of the library are frescoes of
1631 by a Frate, Antony Maria Moller, repre—
senting different deeds of the order, and the battle
under the leadership of Cardinal Martinutius.
The carving of the door of the library is some
good work by Frate Giovanni di Verona, who
designed this part of the building, to whom may
be attributed the various carvings on this floor.

One may now go round the outside of the
building and mark the strange bricks of the
later building in front of the Church, and the
vast stables and quaint mills; and then wander
further to visit the chapels around it. To the
south, a chapel to St. Benedict, of 15-19, with
pictures much spoilt. To the north, a chapel
to St. Bernard, of 1760, with a St. Michael by
Apollonio Nassini. Further, a chapel to Santa
Scholastica, of 1513, with frescoes in scioscuro
of the life of St. Bernard, by an Olivetan, Fra
Antonio; the one in the apse alone remains,
representing an Assumption of the Virgin with
SS. Apollonia, Agnes, Scholastica, Gregory, Bene-
dict, Maurus, and Placidus. The other chapels
are dedicated to St. Francis, the Santa Croce, and
Madonna dell’ Onigo.

 

(191)

CHAPTER X.

SAN GIMIGNANO.

“ Delle belle torri e delle donne befi‘arde,”

SAN Gimignano, like Siena, is a town of mediaeval
growth and medizeval interest, though like her
greater rival she lays claim to antiquity of founda-
tion, proclaiming Silvius, a young patrician impli-
cated in the Catalinarian conspiracy, the originator
of the settlement, from whom it received the name
of Silvia. However this may be, there can be
little doubt that the city as we now see it must
have owed its origin to some pilgrimage shrine to
St. Gimignano, an early bishop of Modena, and
that gradually, as devotees increased, a settlement
grew up around it, which in course of time was
surrounded with walls to protect it from the
inroads of the surrounding places. This accounts
for the inner part of the town, which presumably
was fortified about the beginning of the tenth
century, as 921 is the earliest date at which
the town is mentioned. Much the same process
continued outside these walls, traders and settlers
came, whose numbers at the close of another two
centuries so far exceeded the original popula-

192 GUIDE TO SIENA.

tion as to become the most important section of
the community, nor was it merely in material
wealth that she advanced, for she began to assert
her position politically. Florence thought her
worthy to be made an ally, and several sur-
rounding states testified their respect for her
by inviting her to send arbitrators to settle
their internal quarrels. For some time she
was able to avoid the dissensions which were
devastating Italy, but in 1237 Frederic IL,
straining every nerve to thwart Gregory IX.,
who was fulminating at him from the Vatican,
sent ambassadors to Pagano, an ex-bishop of
Volterra, and at that time a leading man in San
Gimignano. Nothing suited the views of the
ambitious prelate better, and he finally persuaded
the people of San Gimignano to espouse the
Emperor’s cause, so that until Frederic's death
the town was dcvotedly Ghibelline, and sent sol-
diers to all Frederic’s campaigns, who “received
as guerdon many wounds and little pay.” On
his death, however, polities again became an open
question, and the exiled Guelfs returning to the
town, re-established the government under a
priorate, and swore in everyone to support it.
This internal peace added greatly to her pros-
perity, and her resources rapidly increased until
1260 when the Guelfs were utterly routed ncar
Siena at Montaperto, and San Gimignano, besides

DANTE IN SAN GIJIIGNANO. 193

losing several thousand men who were left dead
on the field, had to pay a heavy fine and suffered
severely in her trade. After this bitter lesson of
the danger of interfering in other people’s affairs,
the people of the town turned their attention to
themselves, and by a policy of avoiding foreign
disputes, and by paying attention to their own
industries and the embellishment of their city,
they soon rose again in importance in the eyes of
their neighbours, and in 1299 had the honour
of receiving, in their newly-built Palazzo del
Podesta, the poet Dante, who had been sent by
the Signoria of Florence to consult them on the
desirability of a Tuscan league.

We have now reached the period of highest
success, for from this date begins the history of
the feud between the two families of the Ardin-
ghelli and Salvucci, which ends in bringing the
power of San Gimignano to the dust. We are
not told the origin of the quarrel, but it probably
was some cause of a trivial nature, like that of the
two branches of the Cancelieri family at Pistoja,
or of} the Montagues and Capulets at Verona.
When they first become prominent in history
the Ardinghelli were in exile, and secured their
restoration through the instance of Walter of
Brienne, Duke of Athens, who, having just made
himself tyrant in Florence, was only too glad of an
excuse for extending his power so as to embrace

O

194 GUIDE TO sum.

the mountain town. San Gimignano did not sub-
mit quietly, and her fortifications were so strong
that for some time she kept the Ardinghelli and
the other supporters of the Duke at bay; but
finally the townspeople submitted, to save the
surrounding country from their ravages. A vice-
ducal palace was built, and the Ardinghelli re-
ceived the post of honour in the town. But
\Valter’s government in Florence was so tyran-
nical, and the means he employed so vile, that
several contemporaneous conspiracies were made
against his life, and he was only glad enough to
escape unhurt. The Florentines put most of
his retainers to death, and the people of San
Gimignauo followed suit-by again exiling the
Ardinghelli.

These, on finding the gates of their native town
shut against them for the second time, were in
no way disposed to acquiesce in their fate, but
entered into negoeiations with the malcontents
within the wall, in concert with whom the
following plan was devised. Two of the exiles
were to present themselves by night at the
postern gate and request to be taken to the
governors of the city, and While the guards were
thus occupied, the main body who should be in
waiting without, were to seize on the gate and
effect a junction with the conspirators within.
The appointed night arrived, but one of the most
important contingents of the Ardinghelli failed to ,

THE ARDINGHELLI. 195

appear, though a large body of Sienese horsemen
did so unexpectedly. These two events so discon-
certed the party outside that they made no move,
while those within, not knowing that the plot had
miscarried, appeared under arms, and having thus
proclaimed themselves traitors to the state were
executed. The statue of San Gimignano which
stands above the little gate near the washing
fountain was erected in memory of this attempt.
Though unsuccessful in this plot, which took
place in 1343, the Ardinghelli did not on that
account desist from their attempts to get them-
selves reinstated. On the other hand, their
adversaries were equally keen in their resistance,
and it is impossible to tell how long matters
might have remained in this state, had not the
whole of the centre of Italy been devastated by
the plague in 1348, and both parties were suf-
ficiently humbled before this scourge, to allow
of reconciliation. The government was divided
between them on equal terms, but peace could
not last long. The Ardinghelli had returned
from exile embittered, and the Salvucci not
feeling themselves sufficiently strong to cope
with them, Florence was appealed to with a
view of checking discordf A Florentine arbiter
came, and shortly was called on to give judg-
ment with regard to the (kath of a certain
Michele di Pietro, who had fallen in a street
0 2

’h

196 GUIDE TO SIENA.

broil. The Salvucci accused the Ardinghelli of
having caused his death, and the Florentine,
without inquiring further, had two leading mem-
bers of that family executed, thinking thereby
to satisfy everyone. But the Ardinghelli were
far from contented, and showed their discontent
by attacking the Salvucci, expelling them from
the town and reducing their palace, which stood
on the chief piazza, to ashes. The Salvucci sug-
gested to Florence that their present uncomfort-
able position was in part at least owing to the
action of their arbiter, and requested assistance.
The Signoria sent a sufficient force to ensure
their return. They entered after promising to
keep the peace, but the sight of the blackened
walls of their palace was such as not to predispose
them to perfect charity with all men, especially
with the Ardinghelli, and the more peaceful
citizens fearing fresh troubles offered the pro-
tectorate of San Gimignano to Florence, reserving
merely communal rights. .
Thus ended with San Gimignano all prospect
of political development. For the first century
and a half Florence respected the compact she
had made, though the heavy taxes imposed and
the frequent demand for soldiers weighed heavily
on the town, especially at such times as it was
afflicted with fami‘ie or plague. But though
politically stagnant, it is to these two centuries

COSIJIO DI MEDICI. 197

succeeding the suzerainty of Florence that most
of the literary and artistic achievements of San
Gimignano must be referred. In the year 1552
there again seemed to be a gleam of hope for
the political progress of the town. It had
always been very faithful to the fortunes of the
Medici, and at this time Cosimo was chief ruler
in Florence. He was intent on the destruction
of Siena, and being sufficiently sharp-sighted
to see that San Gimignano might be of great
service to him as a basis of attack, began to
pay great attention to it, had its fortifications
renewed, and even sent Macchiavelli to organise
a regiment there on his own theories of the art
of war. The people of San Gimignano were
delighted with the object, the destruction of
their old and more successful rival Siena, and
thought that if the town of the Wolf disappeared
from the political horizon, they might take the
place thus left vacant in Tuscany; with these
hopes, and with implicit trust in Cosimo, they
strained every nerve to compass the fall of Siena.
This finally took place in 1557, and the delighted
people of San Gimignano retired to their mountain
to see What happened next. Cosimo had written
to them with his own hand begging for help in
this his time of need, and promising to remember
them in good time, and in a way in which they
would be well content; but they had soon to

198 GUIDE TO SIENA.

learn the meaning of “Put not your trust in
princes,” for Cosimo sent them a messenger
bidding them to give up their artillery to his
keeping, and to dismantle their fortifications, as
from henceforth they would have no more need
of them. In other words San Gimignano from
this time forth was to become one of the minor
dependencies of Florence.

PAINTING IN SAN GIMIGNANO.

In speaking of art in San Gimignano it will be
necessary to touch upon two Florentines as well
as upon the local school.

Benozzo di L036 (12' Sandro, commonly known
as Benozzo Gozzoli, was born in 1424, and was a
pupil of Fra ‘Angelico. Eastlake says, “ Except
in his light and cheerful colouring, he has little
affinity to his master.” This is not entirely
true, particularly in those works of his at San
Gimignano; many of the heads of the saints sur-
rounding the Martyrdom of St. Sebastian are so
much in the style of Fra Angelico, that if one did
not know Benozzo was the author, one would be
certain to attribute them to the master and not
to the pupil. Further, though there is a great
advance in the landscape and the introduction of
animals and bye-scenes, yet Benozzo has not
shaken himself free from Fra Angelico’s way of

BENOZZO GOZZOLI. 199

painting trees. In the Life of St. Augustin the
faces are wonderfully true to nature, and no-
where may one see such an amount of character
thrown into figures, which are entirely natural,
neither affected by the ecclesiastical views of the
early painters, nor idealised as in the frescoes of
Raphael. The faces of those who look out on
one from Benozzo’s frescoes here are the same
faces that one meets outside—the same open,
serious faces Dante saw :—

Genti v’ eran con occhi tardi e gravi

Di grande autorita ne’ lor sembianti.

After working with Angelico at Orvieto, Benozzo
returned to Florence and painted the frescoes in
the Riccardi Palace. He next came to San Grimi-
gnano, whence he went to the Campo Santo at
Pisa, where he painted the chief part of the north
wall, a work which has suffered very severely.
The Pisans were so pleased at his work that they
gave him a stone sarcophagus, a present he did
not require until the year 1496. i

It is not my intention here to write a life of
Domenico Ghirlandaz'o, but one or two facts
with regard to him may be interesting. He was
reared as a goldsmith, his father Tommaso
Corradi having acquired for himself the name of
Ghirlandaio from his success in making golden
garlands.

This goldsmiths’ art never entirely forsook him,

200 GUIDE TO SIENA.

and it is to this early training that must be attri-
buted his grandioseness. His great merit is the
fact that he raised a fresh interest in sacred
pictures, by introducing portraits of living per-
sons as spectators of the sacred scenes.

He was born in 1449, but does not seem to have
.taken to painting till about the year 1480, and
since he died in 1494, his work-time was com-
paratively short. It was as he was returning to
Florence from working on the Sistine Chapel,
that he stopped at San Gimignano and painted
the two frescoes in the Chapel of Santa Fina,
which for simplicity of conception and purity of
execution excel all his other works.

His favourite pupil was Sebastz’ano Mainardi, a
native of San Gimignano, upon whom Vasari
confers no slight praise as a fresco painter.

From what we have now left of his work, one
would set him down as a fairly successful copyist
of his master’s style, but then he has suffered
much in colour at the hands of restorers. Ghir-
landaio seems to have been very fond of him,
for he not only painted his portrait in St. Maria
Novella, but induced him to marry his sister.
Little is known of the details of his life.

Vincenzo Tamagm' appears as a painter when
quite young, in 1510. He must have thereby
attracted the attention of Domenico Strambi, who
sent him to Rome to be educated. Here he
remained working in the Vatican, under the direc-

TAMA GNI. 201

tion of Raphael, until his master’s death. He
then returned to San Gimignano, but desirous of
higher inspirations than he found in his own town,
returned to the metropolis, where he remained till
Rome was sacked in 1527, an event he survived
only a few years. But few of his pictures are to
be found beyond the walls of San Gimignano.
The only other artist to be mentioned here is
Bernardino Barbartelli, commonly known as Poc-
cetti, who was born in 1548. He was taken into
the studio of Ridolfo Ghirlandaio, where he dis-
tinguished himself by his bizarre conceptions in
painting; he next went to Rome, where he studied
the works of Raphael, and then returned and
worked with Buontalenti at Florence. He was
an easy and copious painter of the decadence
period, pleasing in his colouring, and occasionally

rising above the mediocre in his frescoes. He
died in 1612.

Albergo delle due Piazza. Very rough. The
people are kindly, but are just getting an idea that

money may be made out of travellers; therefore
make a contract with them.

Palazzo sz‘ellesz' has rooms. If going with a
large party it is best to give warning. About
6 lire per diem is a fair price.

Photographs may be got at the Cafe Cavour,
in the little Piazza, but those who go to Siena
may get a larger choice there.

202 GUIDE TO SIENA.

It takes about an hour by train to go from
Siena to Poggibonsi, which is the nearest station
for San Gimignano. As the train winds slowly
through the hills, one passes a small walled town
on the left, with the church tower just appearing
above the walls. This is Monte Reggione, that
figures in the frescoes in the Palazzo Pubblico at
Siena, and whose towers serve Dante as a mea-
sure of height for the margin of the well in the
‘ Inferno ’—

Perocche come in su la cerchia tonda
Montereggion di torri si corona.

Further along on the same side, there is the
small, low-lying town of Staggia, with a ruined
castle, and then the fortress of Poggibonsi
comes in sight. This is the site of the original
town, known as Poggio Bonizzi, being founded by
one of the Bonizzi family. The fate of the town
seems to have been varied between the years
1148—1248; it changed hands four times between
Florence and Siena. In 1269, it was taken, on
behalf of Charles, by Guy (16 Montfort, and de-
stroyed, the inhabitants being compelled to live
below. In 1313, Henry began to build up the
walls of this lower town, which for some time was
known as Poggio Imperiale. Its history through-
out the middle ages seems to have been one of per-
petual fighting with San Gimignano, Colle, and
other surrounding towns, and it has now sunk

POGGIBONSI. 203

into a somewhat dirty country town, with nothing
very much to attract one. In the main street is
the tower of the Palazzo Pubblico, with the stem-
mata of the podesta upon it. And there are three
churches, which contain nothing but one or two
pictures by Sano di Pietro. Outside the town
in the fortress is the Church of Santa Lucchese,
which contains a very good specimen of Robbia
ware, and has some frescoes by Gerino da Pistoja
in the refectory.

On arriving at the station a multitude of
somewhat decrepit vehicles will be found, eager
to take the traveller to San Gimignano; the tariff
is 3 lire a place, but if the whole vehicle be
taken, for a party of three or four, which is to
wait and come down again, a bargain must be
made, the venturini ask from 20—30, but 10 lire
is the outside that should be paid.

Leaving Poggibonsi by the road which leads to
Colle, one turns off to the right below the town,
and skirting round a wooded hill comes up a
straight road stretching across a plain. After
following this for some way, San Gimignano
appears between a dip in the nearer hills, away
to the right, tempting the pedestrian to make
straight across country for it, a movement which
cannot be comfortably executed, and he must
wait till the road reaches a chapel at the foot of
the hill, and he may then make straight up the

204 GUIDE TO SIENA.

old road, which is steep, but more interesting
than the other, which twists along below the hill
till it joins the main road running from Colle to
San Gimignano. At the bottom of the hill on
which the town stands, the pedestrian has another
choice; he may follow the stony road up by the
telegraph posts, or he may follow the eternal
windings of the carriage-road, Which offer a more
gentle gradient. The former road is particularly
bad when there is snow on the ground. By
either of these ways one arrives at the plateau in
front of the main gate of the town. The great
extent of blank wall above it makes the entrance
look rather low, but the glimpse one gets through
seems to let one at once into the middle ages.
Passing under the porch, which forms one of the
openings of the later circuit of walls, dating from
the twelfth century, one finds oneself in the
narrow high street of the town. The little
church which stands over the door is known as
Madonna dei Lumi.

Passing up the street, one notices on the right
a fresco by Mainardi, in a very fair state of preser-
vation, the lower part of which is protected by
shutters. A little further, on the same side, are the
remains of the front of a. church of the eleventh
century, with some pillars and arches, and a rude
carving of a lamb. On the right, is a fine gothic
building—Palazzo. Pratellesi. In the big hall,

PIAZZA DEL FONTE. 205

there is a large painting by Tamagni, represent-
ing the Virgin with the Child, who is giving a
ring to St. Catherine of Alexandria. SS. Bene-
dict, Gimignano, and Jerome are present; it bears
the date ANNO DOMINI MDXXVIII M. MAII. In one
of the upper rooms there is a picture of a female
' martyr of fourteenth century.

A little further along the street rises sharply,
turning a little to the right, and one enters the
original walls of the town, within which are the
towers that remain standing. Just at the rise
on the right, is a fresco of a Virgin and Child
with Saints, much damaged, but generally referred
to Tamagni. This corner is perhaps the most
picturesque bit in the whole town.

\Vithin the inner walls one finds oneself in the
Piazza del Fonte with an old well in the middle ;
in the left—hand corner is the Albergo delle due
Piazze, whose entrance is in the main piazza, which
like most has sundry names. Standing in this
corner, the building on one’s right with the clock
tower is the Palazzo del Podesta, to the left beyond
the inn is the Palazzo Pubblico, and then that
end of the square is filled by the buildings of the
Pieve or Collegiata, whose mean stucco facade
seems to forbid the idea that there can be any-
thing worth seeing within. Opposite to one,
the two towers which rise together are all
that remain of the memory of the Salvucci and

206 GUIDE TO SIENA.

Ardinghelli, whose palaces once occupied the chief
part of the piazza.

One may now begin in detail, following the
order already suggested. The Palazzo del Podestc‘t,
with its cavernous vestibule, which serves as a
refuge for the market people in time of rain, was
begun in the year 1223 and enlarged in 1337.
It was not long used for its original purpose, for
after the Palazzo Communalc had been finished
it was kept as a place wherein to entertain the
guests of the Republic. The clock was erected
in 1407. At the end of the loggia is a fresco
which has suffered severely from time and resto—
ration, but all authorities attribute it to Sodoma,
who was at San Gimignano in 1513.

The inn until quite lately was overshadowed by
the tallest and most slender tower in the town, but
it was removed, since it showed certain signs of
weakness, and even now there are enough towers
around to give one unpleasant suggestions on
hearing a sudden clap of thunder in the middle
of the night. Passing the inn, one comes to the
Palazzo Communale, whose facade was once covered
with stemmata in stone and glazed terra cotta, but
these were removed by the French troops whilst
occupying the town and being a little at a loss for
amusement. The tower is larger than the others
now standing, and some way up may be observed
a line which marked the highest limit to which

PALAZZO COMMUNALE. 207

private towers might be built. One ascends the
steps, but one cannot get into the palace without
the custode; if he be not here, he is probably at
the Cafe Cavour; if not, some one will fetch him.
This palace was begun in 1288, and enlarged in
1323, and it was here that the people of San
Gimignano received Dante, who might have done
much to redeem this town from obscurity had he
but devoted one line to it. One enters a fine hall
to the left, Sala del Municipio. On the right wall
is a very large fresco representing the Virgin and
Child surrounded by the patron Saints of the town,
who mostly have their names inscribed below.
The figures of St. Louis and St. Gimignano are
particularly good ; the figure kneeling in front
is Messer N 0110 dei Tolomei, Podesta at the time ;
St. Niccolo holds a scroll on which is written——

Salve rcgina mundi, Mater Dei,

Qua} sine pena. peperisti Christum.

Vobis commendo devotum infra scriptum

N ellum Domini Mini Tgomei

In ulnis vestris rogo amoe (amoene) mei.

Ut placeat vobis suscipere istum

Et inter sanctos viros esse mixtum
Angelos patriarchas Vivi Dei.

Above the baldacchino, which bears the arms of
the Tolomei and of San Gimignano, is written in
German characters, LIPPUS MEMMI DE SENIS ME
PINXIT ; below is written A1 tempo di Messer N ello
di Messer Mino de Tolomei di Siena, Onorevole

208 GUIDE TO SIENA.

Potesta e Chapitano del Chomune e del popolo
della Terra di San Gimignano MCCCXVII.

The fresco, which, as the inscriptions tell one,
was painted in 1317 by Lippo Memmi, is very in-
teresting, as in style and composition it is almost
an exact reproduction of the fresco in the Palazzo
Pubblico at Siena painted by Simone Martini.
In the year 1461, the doors leading into the
audience chamber were made, and in the course
of their construction the fresco was considerably
damaged; it was, however, well restored by
Benozzo Gozzoli a few years later, BENOTIUS
FLORENTINUS PICTOR RESTAURAVIT ANNO DOMINI
M°CCCC°LXVII°. There is no place in which
frescoes have more suffered from restoration than
in San Gimignano, and this is the only happy
instance of success. It is evident that this
chamber was once frescoed all over; but they
have mostly faded or been obliterated. On the
end wall there are portions of a fresco represent-
ing Bishop Scolario Ardinghelli of Tyre settling
some dispute about tithes, Ap. 3, 1292; there is
enough left to gather from the disappointed look
on the faces of the priests which way the Bishop’s
verdict is goincr. 0n the other wall are hunting
scenes dimly discernible.

This room and the next are now used as a
picture gallery to contain the works removed
from suppressed convents and unused churches in

PALAZZO COMMUNALE. 209

the neighbourhood. They are arranged in no
particular order, but I will record them according
to their numbers :—

(1.) St. Anthony.

(2.) St. Bartholomew, triptych. In the centre stands the
Saint; below is written sTs. BARTOLOMZEUS APOSTOLUS.AD.
3100001.; on the hem of his gown, LAURENTIUS NICHOLAI DE
FLORENTIA. On the right wing, his birth and condemnation; on
the left, his torture and death.

(3.) A triptych by Taddeo Bartolo. In the centre, Virgin
and Child, under whom “ Ego sum lux inundi"; above, God
the Father; at the sides, SS. Niccolo and Christopher, John
the Baptist, “Unum baptisma,” and St. Gimignano. On right
wing, the Angel Gabriel and St. Peter; left, the Virgin
Annunziata and St. Paul; signed, THADEUSBARTHOLI DE
snxrsmmxu‘. Originally in the Cappella della Purificazione
in the Pieve.

(4.) Virgin and Child, Lippo Memmi.

(5.) In the small room. a triptych, St. Julian, St. Antony,
St. Martin, with the Eterno Padre above, inscribed IULIANI’S
MARTINI FECIT-FIERI, painter unknown.

(6.) Triptych relating to San Gimignano, from the high
altar of the Pieve, by Taddeo Bartolo. Vasari says, “ Tornato
in Toscana lawn) in San Gimignano una tavola e tempera che
treise della maniera d'Ugolino Sanese, 1a qua] tavola e oggi
dictro all’ altar Maggiore della Pieve.”

(7, 8.) Virgin and Child; Virgin and Child with Saints,
probably by Sebastiano Mainardi, though some attribute them
to his master, Ghirlandaio.

*(12.) Virgin and Child with SS. John Baptist, Gregory,
Francis, and Fina; a good picture by some pupil of Benozzo
Gozzoli, possibly Piero della Francesca (?).

*(13.) Two circular pictures of the Angel and Virgin Annun-
ziata, good specimens of Filippino Lippi.

(14.) Christ on the Cross (in the small; room), in style of
Sassetta.

(15.) A Madonna, by Guido da Siena.

P

210 GUIDE TO SIENA.

(16.) Madonna, by Fra Paolo di Pistoja,

(17.) Virgin and Child, Old Sienese school.

*( 18.) Virgin and Child surrounded by Cherubs, with a
landscape behind; below, SS. Christopher, Niccoli de Bari and
others. A white Initre lying in front catches the eye un-
pleasautly, and cannot have been finished, or else was repainted.
The picture, by Bernardino Betti, Il Pinturicchio, was originally
in the church of Mout’ Olivetto.

In the entrance-chamber is a Virgin and Child,
by Lippo Memmi.

Descending into the courtyard, one again sees
traces of the vandalism of the French. The
stemmata which once surrounded it have been
efl'aced, with the exception of that of Lippo
Memmi in the left-hand corner. The fresco of
the Crucifixion, which is almost obliterated, is
attributed to Benozzo Gozzoli. In a room to the
right, now used as an ofiice, is some interesting
chialoscuro \\ 01h by Antonio Bazzi, Il Sodoma, like
that 111 St. Anna in C1eta, near Pienza. One re-
presents St. I\ on dispensing justice, with beggars
waiting outside; below, the anus of Macchiat elli,
and a date 1507 , on the wall of the staiicase,
which once formed the opposite wall of the
room, an allegorical painting. On the side wall
is a Virgin and Child, with SS. Gregory and
Gimignano, probably by Taddeo Bartoli.

Leaving the Palazzo and ascending the steps to
the right, one enters the Collegiata 01 principal
Chu1ch. The ex ening light is best, for then, as

THE COLLEGIA TA. 211

it streams through the end window, it falls upon
the best frescoes.

The Church was originally a basilica, built in
the eleventh century, with narrow rounded
windows, which may still be seen from the out—
side. These were replaced by larger ones in the
fifteenth century, when the Church was converted
into a Latin cross from designs of Giuliano di
Majano. It is best to begin with the west wall,
in the centre. On this has been frescoed a
Martyrdom of St. Sebastian, with Christ and
the Virgin above: the whole is surrounded by
a framework of saints and angels, and at the
sides are other saints painted life-size. The work
was executed by Benozzo Gozzoli in 1465, as a
thank-offering to the saint after a severe attack of
plague. Benozzo has painted all the figures with
great care; but his want of perspective, and his
grouping all the archers very close to the victim,
give it a very quaint effect. In the saints who
figure around, he has followed his master very
closely, and several of them would pass for the
Frate’s own work. At the bottom is an inscrip-
tion : AD . LAUDEM . GLORIOSISSIMI ATHLETZE SANCTI
SEBASTIANI HOG OPUS CONSTRUCTUM FUIT DIE
XVII IANUARIIJICCCCLXV BENOTIUS FLORENTINUS
PINXIT.

0n the right are painted St. Augustin and the
Virgin; on the left, a lovely Assumption of the

P 2

212 GUIDE TO SIENA.

Virgin, which is a little hard to see. On the
pilasters to the right, St. Jerome and St. Bernar-
dino; to the left, St. Augustin and St. Bernard.
These Benozzo painted in February 1465, and
received extra pay therefor.

re Below the main fresco, now protected with a
wire grating, is a small Crucifixion, with St. Jerome
and St. Paul the Hermit.

Above this fresco by Benozzo, is a Padre Eterne,
surrounded by the twelve apostles and saints and
prophets, painted in 1393 by Taddoo Bartolo. It
bears an inscription THADJEITS BARTOLI DE SENIs
PINXIT 11E CAPELIE Mceexcm. The four pro-
phets on the inside of the first arch are also his.

The altar that stands here is by a pupil of
Benedetto da Majano.

As one looks up the Church to the east end,
over the arch to the right is a fresco by Bartelo
di Fredi, representing Heaven: Christ and the
Virgin are surrounded by angels with musical
instruments, Virgins, saints, and martyrs. On the
inside of the arch are the Cardinal Virtues crowned.
Opposite is painted Hell: a Dantesque Satan is the
centre of it, engaged in mangling sinners, while
around may be seen the punishment of carnal
sins, marked Gola, Avarizio, Adulterio, 850., but
the treatment is more coarse than beautiful. All
these were the work of Bartolo di Fredi, and are
interesting as Specimens of the stiffest early

THE COLLEGIA TA. 213

Sienese school, being some of the few that in this
Church have escaped from restoration. At some
period, probably towards the close of last century,
the authorities were eager to have their paintings
refreshed, and must have engaged a scene-painter
to do the work, whose poverty must further have
considerably confined his choice of colours to
yellow ochre and some other crude tints. Before
turning to look at the rest of Bartolo di Fredi’s
work, one may walk up the centre aisle. The
medallions give the Ten Apostles, with the
exception of St. Peter and St. Paul, whose places
are taken by two worthies of San Gimignano.
The roof, blue with gold stars, was originally
painted by Domenico Ghirlandaio.

One may now turn to Bartolo di Fredi’s
work on the north wall. It consists of frescoes
representing scenes from the Old Testament,
which the almost obliterated inscription shows to
have been painted in 1356: ANN. DOM. MCCCLVI.
BARTHOLUS MAGISTRI FREDI DE SENIS. ME PINXIT.
Those at the west end are almost entirely the
work of the restorer, and look like magic-lantern
slides: he seems to have been well supplied with
yellow ochre. The painting of the originals is
rough but vigorous, and forms an interesting
study. The weakness in perspective is especially
brought out in the Crossing of the Red Sea, and in
the History of Job. The first traces of naturalism

214 a U/DE T0 SIENA.

may be noticed, in the Building of the Ark, Noah’s
Vintage, and the People Fishing. His Job is
probably a reminiscence of San Bartliolo.

The Prophets, in chiaroseuro on thé opposite
wall of this nave, are attributed to Benozzo
Gozzoli.

South N (we.

The series in this nave is divided into twenty-
seven sections, representing scenes from the life of
Christ. They were designed and begun by Berna
or Barna, who met his death by falling from his
painting-scaffold while painting one of the lunettes
in 1380, and the work was completed by his pupil,
Giovanni d’Asciano.

First series, lunettes :—

(l.) The Annunciation. A funny conception is introduced:
a maid servant, with a distat‘t‘, is seen listening at the door. The
figure is very like one of Gaddi‘s.

(2.) Birth of Christ ; very much cracked.

(3.) Adoration of the Magi.

(4.) Circumcision.

(5.) Massacre of the Innocents: nothing discernible but a
confused mass of infants lying in the middle.

(6, 7.) Flight into Egypt, very much damaged by the
alteration of the window.

Second series :

(8.) Christ among the Doctors. Christ’s head is very good.

(9.) Baptism. The drawing of the bank and of the

(10.) Call of Peter. } water very rudimentary.

(11.) Feast at Cana. The head of Christ by no means so
conventional.

(12) Transfiguration; cracked.

 

3‘

THE COLLEGIATA. 215

(13.) Raising of Lazarus. The papyrus swathing-bands
give Lazarus a strange appearance.

(14, 15.) Entry into Jerusalem. Christ on an ass with a
neck remarkably long and stiff, the foal following ; the crowd is
coming out of a mediteval town to meet Him. Notice the man
in the tree.

Third series:
(16.) The Last Supper; the face to the right, and that of

Judas, both remarkable.

(17.) Judas sells Christ; the sanctimonious craft in the
faces of the priests.

(18.) The Agony in the Garden.

(19.) The Kiss of Judas.

(20.) Christ before the High Priest, who is beginning to rend
his clothes.

(21.) Flagellation ; Pilate (?) looking on.

(22.) Jesus mocked; furiously repainted.

(23.) Meeting of the Maries With Christ; Christ's a fine face.

(24—27.) Crucifixion. The fresco is rather confused, and
the proportions of the figures are not observed. The horses are
truer to nature than in most painters of the time. The group of
Maries on the left is a little suggestive of Buffalmacco at Pisa.

The remaining sections of the Entombment,
Resurrection, and Ascension have been almost
entirely destroyed.

Over the arches of this nave are more figures
of the prophets, but so dim as not to be
recognisable. Near the door of the chapel, a
female saint, presumably Santa Fina, by Benozzo

Gozzoli.
Chapel of Santa Fina.

Santa Fina was a local saint of San Gimignano,
worshipped as a type of patient suffering and

216 GUIDE TO SIENA.

charity. Her life was a simple one. ‘Born of
noble parents in reduced circumstances, she early
lost her father and mother, and was tended only
by her faithful nurse, Beldia. She was then
seized by a painful disease which prostrated her,
and the last years of her life she spent on a plain
wooden bed, on which she lay till her mortifying
flesh clung to the boards. The legend says that
St. Gregory appeared to her and foretold her
death, which took place in 1253. The people of
San Gimignano have raised in her honour a very
beautiful little chapel. It was designed by Giu-
liano da Majano, in 1468. The upper part of the
altar is by Benedetto da Majano; and the lower
part was added in this century, from designs of
Maccari. Over it reposes the sarcophagus of the
saint, with an inscription of 1493 :—
Virginis ossa latent. tumulo. quem suspicis hospes,
Hale decus, exemplum prmsidiumquc suis ;
Nomen Fina fuit; patria litec miracula quzeris?
Pcrlege, qua: paries, vivaquc signa, docent.

The two big frescoes are by Domenico Ghir-
landaio, in his purest and simplest style. That on
the right represents Santa Fina lying on her bed
in a poorly furnished room, supported by the
faithful Beldia; and St. Gregory is appearing to
foretell her death. On the left, she is borne to
the grave by mourning citizens; the bier has
stopped and Santa Fina miraculously places

SAN TA FINA.- 217

her hand on that of Beldia. To the left are the
towers of the town, in one of which a little angel
tolls the bell, to commemorate the spontaneous
ringing of the bells at her funeral. The colour-
ing is wonderfully fresh.

The Evangelists on the roof, and the Saints, are
by Sebastiano Mainardi, pupil and brother-in-law
of Ghirlandaio; but they have suffered a great.
deal from repaintin”.

In the right transept, the altar-piece, the
Supper at Emmaus, is by Gaetano Cannicci, 1838,
a local painter.

In the first chapel, a Crucifixion, painted in the
evening light: the figure of the Saviour, which
was in relief, has been removed. It is thought
to be a copy of a picture by Raphael, once existing
in the Dominican church here.

In the second, late pictures on canvas, thought
to have been placed over old frescoes. Above
this chapel is a St. Peter by Benozzo Gozzoli.

The Choir contains a collection of pictures from
suppressed convents :—

(1.) *Virgin and Child, with SS. Magdalen, John the
Baptist, Martha, Augustin ; signed, OPUS BENOZII DE FLORENTIA
MCCCCLXVI.

(2.) *Coronation of the Virgin, ordered by Domenico Strambi,
who kneels below, with SS. Gimignano, Niccolo Tolentino,
Fina, Niccolo, and Augustin, by Pollaiuolo, PIETRO DEL.
POLLAII.’I.0 FIORENTINO, 1485.

(3.) Christ in Limbo. Matteo Roselli.
(t) Bencdictincs admiring the Trinity; very inferior.

218 GUIDE TO SIENA.

(5.) *Virgin and Child, SS. Gilnignano, Niccolo, Magdalen,
Fina, John the Baptist, by Sebastiano Mainardi.

((5, 7.) Unknown.

(8.) *Dcposition from the Cross, by Domenico Cresti (la
Passignano.

(9.) *Virgin and Child, with SS. Monica, Lucia, Augustin,
Michael, St. Niccolo kneeling, by Vinccnzo Tamagni da San
Gimignano; probably his best work.

The first chapel in the north transept contains
an altar-piece by the pupils of Benedetto da
Majano; over the second is the figure of Ezekiel
in Chiaroscuro, by Benozzo Gozzoli.

In the sacristy, a bust of Onophrio Petri templi
hujus reparatori, by Benedetto (la Majano, and one
or two choral books.

As one returns into the north nave, a door leads
into the Chapel of St. John, which was originally
a Cloister extending further, but was subsequently
curtailed and shut in. Over the door is written, PER
ME SI QUIS INTRAYERIT SALVABITI‘R. Over the
altar is an Annunciation, by Domenico Ghirlandaio,
and at the other end, a font, on which is carved a
Baptism of Christ and some lambs, the wool-
staplers’ arms; it is inscribed, HOC OPUS FIERI
FECIT UNIVERSITAS LANE. ANNO DOMINI. MILE
CCC LXXVIII. 1E3 GIOVANNI CIECCHI DE SENIS.

The Cloisters above contain nothing interesting.
Leaving the Collegiata, and crossing the piazza,
one has the two towers of the Ardinghelli and
Salvucci on one’s lef —all that remains of their

THE MAIN STREET. 219

palaces; and continuing the main street, one soon
passes under the inner gateway of the town, and
then immediately on the right is the little Church
of San Jacopo, dating from the eleventh century,
showing on the facade the architecture of the
Knights Templars.

A little further is the Palazzo Pasciolz'm', half
palace, half toner, built in the thirteenth or four-
teenth century, but bearing an inscription purport-
ing to date from the Emperor Desiderius XXII.,
in 7 .59, and to have served as ahostelry to Charle-
magne. One may continue almost to the further
gate, whence a small street to the left leads to a
square, on the right of which are the remains of a
church, and on the left Sant’ Agostz'no, dating from
1280. The custode lives at a house a little way
down the road, but is generally on the look-out for
strangers. One enters by a door on the south.

(1.) Immediately to the right is a picture of Christ Bound,
surrounded by emblems of the Passion, attributed to Giotto,
possibly by one of his pupils.

(2.) The altar of San Niccolo Tolentino. In the. lunclte above,
Virgin and Child with angels ; below, a Crucifixion, with St. Roc,
A momso EPIDEMIE nos PRESERVA; left, St. Niccola, PRECEPTA
PATnIs SERVAVI ; on the arch, St. Anthony, St. Paul the Hermit,
date MDXXXIX., by Vincenzo Tamagni.

(3.) Marriage of St. Catherine, by Salimheni.

In the chapel to the right of the choir, Saint praying, by
Giovanni Gastona Forzari di Voltcrra.

On the right wall, the Death of the Virgin, surrounded by
angels whose wings make a background. 011 the left wall, the

220 GUIDE TO SIENA.

Birth of the Virgin; the figure of the servant amusing the child
is very vivid and good; both probably by Bartolo (li Fredi.

On the right of the arch, Benozzo Gozzoli has painted
Sta. Fina and the Story of Tobit; on the left, St. Monica,
St. Sebastian and his Martyrdom. Inside the arch is Christ
with His Twelve Apostles; and below, Elias, St. Niccolo,
St. Niccola and St. John, St. Gimignano, St. Bartolo and his
Miracles.

Choir.

One then enters into the choir itself, which was
once entirely frescoed by Benozzo Gozzoli, repre-
senting the Life of St. Augustin, in seventeen
sections. The cost of the work was defrayed by
Domenico Strambi, and it was executed from
1i63~1465, and though in places the frescoes have
suffered considerably from damp and restoration,
they are the finest collection of frescoes by Benozzo
Gozzoli, except perhaps those in the Riceardi
Palace, in which the colouring is a little more
vivid :—

(1.) St. Augustin taken to school at Tegaste; his parents
are bringing him on the left, the master goes to meet them. On
the right is a class, and some boys playing; and the comic
element is introduced by a small boy on another’s back being
whipped.

(2.) This fresco has suffered a good deal. St. Augustin, at
the age of nineteen, at the University of Carthage.

(3.) Monica, on the left, is seen praying; then she appears
on the right again, blessing Augustin as he crosses to Italy.
This has suffered much at the hands of the restorer.

(4.) Augustin crosses the sea. Under the window, the
original having been obliterated by damp, some miserable
slide-painter has replaced it by what we now see.

(5.) Is welcomed by someone in authority. The faces are
very good, but the lower part spoilt.

BENOZZO GOZZOLI. 221

(6.) Augustin holds a school. The attention and eagerness
of the audience very marked, especially of the two on the
right. One holds a book, in which is written, “ Rhetorica est
Scieneia quze in persuadendo constitit.”

(7.) Augustin leaves Rome for Milan. One of the best
frescoes. Benozzo cannot draw horses, and is nearly as cons
ventional with his trees as Fra Angelico; but look at the
expression in the faces, especially of the three on the left,
and the swing of the youth walking beside Augustin. Above,
two angels hold a scroll, with the legend :—

Eloqnii sacri doctor Parisinus et ingens
Gemignaniaci faina decusque soli

Hoc proprio sumptu Domenicus ille sacellum
Insignem jussit pingere Benotium MCCCCLXV.

Second series :—

(8.) In three parts :——-(1.) His arrival at Milan, a servant
removes his spurs. (2.) He meets with St. Ambrose. (3.) He is
received by the Emperor Theodosius.

(9.) In three parts :—(1.) He stands before Ambrose while he
is preaching. (2.) Monica entreats Ambrose for him. (3.) Dis-
pute with Ambrose on Manichwism. The first section is much
spoilt. -

(10.) To the left of the window. Augustin reads the Epistles
of St. Paul; Alipius and Ambrose are present.

(11.) Augustin is baptised by Ambrose. Above are written
two lines of Ambrose’s hymn, Te Deum laudam(us), Te
Deum confitem(ur); and below, A DI I’RIMO D’ APRILE MILLE
CCCLXIII, being probably one of the earliest sections painted by
Benozzo.

(12.) In three parts :~—(l.) Augustin visits the hermits of
Monte Pisano. (2.) Explains the rules of his order to the
brethren. (3.) Rebukes a little child by the seashore for
attempting to measure the ocean with a small spoon ; the
child, who is the Saviour in disguise, rebukes him for the more
impossible task of trying with a finite mind to understand the
Trinity ; this is rather a favourite subject, and may be seen in
a beautiful ancona of Pinturicchio at Perugia, and again in the
Stanze at the Vatican.

(13.) In four parts :—(1.) High up on the left, the mother

222 GUIDE TO SIENA.

and son converse. (2.) The chief part, the Death of Monica.
Augustin with a missal stands by with a grieved look; perhaps
the dog worrying the heels of a nude little boy is rather out of
harmony with the scene. (3.) Monica in glory. (4) Augustin
again crossing the sea ; it must have been from this section that
the fresco under the Window was taken.

Third series :—

(14.) Augustin, as Bishop of Hippo, blesses the people.

(15.) To the left of the window. Augustin confutes Fortu-
natus. These two sections have suil'ered.

(16.) Augustin informed by Jerome of celestial joys.

(17.) Augustin lies dead; his soul is carried to heaven by
angels.

Turning to the north nave, we come to Cappella
del SS. Sacramento.

The altar-piece is the Birth of the Virgin, hy Vincenzo
Tamagni,vreENT1US TAMANIUS m: SAN GIMINIGNANO FACIEBAT.
A servant pours water from a golden cwer in front; and at the
side there is a very fine figure of an old lady kneeling—she is
Pia Saraceni, the donor.

In the sacristy, some heads by Taddeo Bartolo.

N orth lVaIZ.

(1.) A fresco of San Gimignano blessing three celebrated
characters of San Gimignano: Mattia Lupi the poet, who died
in 1468; Domenico Mainardi, the great ecclesiastical lawyer. who
died in 1422; and Nello Nelli, the civil lawyer, who died in l130.
The painting was executed by Donienico’s nephew, Sebastiano
Mainardi, at the cost of Domenico Strambi. Below is a painting
of a tomb for this great doctor, to whose beneficence and wisdom
San Gimignano owes so many works of art. It bears the
inscription :—

DOMENICUS DOCTOR PARISINUS IN HAG IACET IiRNA.
QUI HUIC TANTA I‘IUS CONTULIT ECCLESIZE

GLORIA, FAMA, DECUS SIMUL ET PIA FACTA MERENTI’R
SILVIATOSZE, UT DISCANT, PAx REQL‘IESQUE SIBI.

SANT’ AGOSTINO. 223

(2.) Altar della Madonna delle Grazie, with a Virgin and
Child, with St. Michel to the left, by Lippo Memmi, but vilely
restored in 1846 by Marini. Compare the one in the Corporale
Chapel at Orvieto.

(3.) The pulpit, which, with the work round it, dates from
1521. Above it is a small Crucifixion ; below, a ehiaroseuro of
Elias and a Saint.

(4.) Altar of St. Sebastian, erected after the plague in 1464.
St. Sebastian, with a Christ-like face, shelters the people of
San Gimignano under his mantle, and prays, “ Iracunda Deum
ponere fulnrina”; above, the Virgin and Saviour interceding,
the arrows of the angels are broken upon the cloak. The legs
of St. Sebastian have. been repainted. There is written on
the picture, ANNO DOMINI MILLESSIMO QUADRINGENTISSIMO LXIII,
and beneath it, xxvrn J ulii fuit hoc opus expletum, dieque
sequenti hoe in altari exstitit primibus celebratum MCCCCLXIII.
Below is a predella with medallions very like Fra Angelico’s.
Notice the one inscribed F.D.M.P., which is Domenico Strambi
again. The whole of these paintings are by Benozzo Gozzoli.

(5.) The altar of San Vincenzo. A Virgin enthroned, with
SS. Vincenzo and Niccolo, painted in June 1550, by Era Paolo
di Pistoja, a pupil of Era Bartolomeo.

(6.) Altar of the Holy Cross. The figure has been removed
from the cross; SS. Magdalen, Monica, Mary and John, Hippo-
lytus and Margaret ; an inferior work by Vincenzo Tamagni.

lVesjern I'Vall.

Altar of the Rosario. Small inferior pictures to the left of
the door—Cappella di San Bartolo, a local saint known as the
Tuscan Job. He seems to have lived a useful and humble life
till the age of fifty, when he was attacked by leprosy, and
endured another twenty years of existence deprived of all that
makes life worth living. He died in 1299, and on its being dis-
covered that miracles had been worked at his tomb, two
centuries later, Alexander VI. canonized him. His altar is
in the same style as that of Santa Fina. The gilt and marble
work are by Benedetto di Majano, 1496. The plaque of the
Virgin and Child is particularly good : the other figures repre-

224 GUIDE TO SIENA.

sent the Christian Virtues and angels. Above lies the tomb of
the saint, with a bronze tablet on it, OSSA DIVI BARTOLI GEMINI-
ENSIS MALORUM GENIORUM FUGATORIS ; below in relief are repre-
sented his miracles. The vaulting contains the four Latin
fathers SS. Gregory, Ambrose, Augustin, and J erome. On the
wall at the side, SS. Gimignano, Lucia and Niccolo. Both these
are by Sebastiano Mainardi. The tiles 011 the pavement are
very good.

South Wall.

A very beautiful Virgin and Child, to whom kneel SS.
Martin and Augustin; behind, SS. Andrew, Vincenzo, Laurence,
Bartholomew, Peter Martyr, and Stephen, with a small figure
of a Dominican kneeling. On the predella and around are
depicted Saints, a Pieta, Resurrectimr, and Ascension, signed
Divo DOMENICO FR LAURENTIO BARTIIOLI DICAI‘I’I‘ rE'rnts rnAN-
CISCI‘S PRESBYTER PINXIT 149i.

Leaving the Church of St. Augustin, a street
called Via Nuova leads off to the left about one
hundred yards from the square. In this to the
left, is the Church of Santa 071mm. 011 the high
altar there is a Virgin and Child, between SS.
John the Baptist, Francis, Louis, Clara, and Fina,
by Matteo Roselli, a Florentine painter of the
sixteenth century, the master of Carlo Dolce.

On the left altar, Virgin and Child, between
SS. Bartolo and Sebastian, by Vincenzo Tamagni.
On the roof, SS. Francis and Clara, by Catani,
1800.

Further down the street to the right, the Hospital
of Sta. Fina. The entrance-hall is adorned with
medallions, by Mainardi, more or less retouched.

SAN GIROLAMO. 225

St. Bartolo in a Masaccio cap, San Gimignano with
a mitre, St. Peter Maityr, St. Niccolo, and a Virgin
and Child. To the light, a bust of Santa Finab

A little fu1ther along, the Church of San
Gz'mlamo.

011 the high a.lta1,a Vi1gin and Child with SS. Gualbeito,
Benedict, John and Jerome, by Vincenzo Tamagni,v1NCENTIts
TAMAGNis GEMSIS FACIEBAT Mnxxu. The uppe1 part of the
pictule, the Padle Eterno and angels added later by Stefan
Mamcelli.

011 the left altar, a Holy Familv, by Jacopo Carrucci,
Ponto11no.In the refectory of the Convent three lunettes of
the Miracle of the Loaves, by Poccetti. In the hall of the
Novieiate, a Virgin and Child, by Dom. Ghirlandaio.

At the end of the street is San Lorenzo in
Ponte, a small disused church, with a pretty brick
facade. Passing beyond it, one has a splendid
View over the country, from Certaldo to Empoli,
Castel Florentino looking particularly big and
important. Then, by turning to the right and
following the wall, one comes down into a gully
into which the town dips. Here is the gate and
little Church of della Perm alla; Fame, on the
outside of which is a statue of San Gimignano,
placed there in memory of the unsuccessful
attempt of the Fuorusciti in 1342. Below is the
great fountain of the town, built on to from time
to time as the increase of population required ; so
that the arches are partly circular, partly Moorish,
partly Gothic. \Vhen fully occupied by women

Q

226 GUIDE TO SIENA.

washing and chattering, the scene is most animated
and lively.

A steep road to the left takes one up to the
piazza again, and there is little more to be seen
in San Gimignano; there is a good view from the
Rocca, the old citadel, of which but little now
remains; and in the little Church of St. Francis
there are some inferior lunettes by Poccetti,
giving the life of the saint.

NEIGHBOURHOOD OF SAN GIMIGNANO.

(1.) Outside the Porta San Matteo, about two
miles off', is the quaint Old Church of S.Ma1ia
Assunta di Callori o Cellole, dating from the
tenth or eleventh century. It is in most perfect
repair, and quite unique in the plain stone apse,
narrow windows, and roughly cut capitals of
the pillars, on one or two of which are some
early frescoes of saints: outside is the inscrip-
tion, + A.D. MCCXXXVII. CONSECRATIO PLEBIS.
The church most like it in this part of Italy
is the Pieve at Arezzo; but that is not quite
so sublimely simple as this one, nor can its site
compare with it.

(2.) Outside the principal gate of the town,
striking Off to the right from the road to Colle, is
the Old Convent of Monte Olivetto, founded in
1340, and suppressed in 1776, the monks being
transferred to Volterra.

MONTE OLIVETTO MINORE. 227

Over the west door, a Virgin with a book, two Frati adoring,
by Vinccnzo Tamagni.

Inside, in the chapel on the right, Virgin and Child, St.
Jcromc and St. Bernard. On the predella, the Birth of the
Virgin; the picture has two large cracks down it ; it bears the
date A.S. mom, and an inscription saying that Domenico Mainardi
had the chapel built, and Sebastiano Mainardi painted the
picture.

Behind the high altar, a good tomb of Antonio di Ser Salino,
with date November 17, mecca.

The sacristy contains some Saints of the early Sienese
school, and over the altar a Resurrection and an Entombment by
some painter from Colle.

In the cloister is a fresco fast falling into disrepair. It
represents a Crucifixion, with angels adoring above ; at the
sides, Mary and John ; above,two prophets holding scrolls; at the
side, a small figure of a Frate, kneeling, by Benozzo Gozzoli.

Following the road for rather more than a
mile, one comes to a little settlement, with the
Church of Santa Lucia.

Over the altar, a fresco of the Crucifixion, Mary and John
at the sides. The treatment of the rocks is very primitive.
It is evidently by a pupil of Benozzo’s, and probably by Piero
Francesco.

Over the side~altar, a Virgin and Child, with SS. Catherine of
Alexandria, Mary Magdalen, kneeling; on the right SS. Jerome
and Antony; left, San Gimignano and a monk. It bears the
date 1525, and has a good frame, upon which is painted a
Visitation, Raphael, and a monk, Fra Paolino da Pistoja.

Those who stay at San Gimignano should visit
Colle and Castel Vecchio, the two keenest rivals
of San Gimignano. The walk over the uplands
to Colle is pleasant, and the appearance of
the town is picturesque as one approaches, for
on this side the walls and gate are left; but

Q 2

228 GUIDE TO SIENA.

within one is disappointed, much of the old-world
tone has gone, and is replaced with a prevailing
appearance of opulence. The Cathedral has been
restored in the newest and vilest style; and the
two other big churches of St. Francis and St.
Augustin have yielded to the material influences
of the time, and are now factories. The general
appearance of the town is suggestive of a dis-
solving view ; ere long all traces of antiquity will
have died away, and it will become a thriving
modern town, with a railway of its own. It
is very different from Caste] Vecchio. In a
lonely valley where one may walk for miles
without meeting anyone, there stands a long
isolated hill, covered with stubbly brushwood; at
either end rise two square towers, cracked and
split; and along the edges of the hill between
them, here and there can be traced vestiges of the
city wall, which rises above the tangled under-
growth. This and the shell of a small church
are all that remain, and desolation reigns supreme.

Such is the fate of the three towns. Colle has
become modernised and seems on a fair way to
prosperity. San Gimignano stands as a fossil of
the past; and the ruins of Castel Vecchio lie
scattered along the hill as a comment on the line
of Dante :———

Ch‘e anche 1e cittadi termin hanno.

INDEX.

___+___
SIENA.

* The principal objects of interest are starred.

PAGE
Accademia dei Rozzi .. .. .. ..
Ansano, St. .. .. .. .. .. .. 61
Asciano .. .. .. .. .. .. .. 178

“Belcaro .. .. .. .. .. .. .. 173
*Belle Arti (Picture Gallery) .. .. .. .. 145
Bernardino, St. .. .. .. .. .. .. 118

Buon Convento .. .. .. .. .. .. 177

Catherine of Siena .. .. ..1 .. .. 131

Cemetery .. .. .. .. .. .. 105
Churches :—

*Sant’ Agostino .. .. .. .. .. 104

,, Ansano .. .. .. .. .. 103

,, Ansano in Dofano .. .. .. .. 168

*San Bernardino .. .. .. .. .. 117

Campansi .. .. .. .. .. .. 125

“Carmine .. .. .. .. .. .. 103

"Santa Caterina .. .. .. .. .. 142

,, Caterina della Notte . . .. .. 98

Cathedral .. .. .. .. .. .. 62

San Cristofano .. .. .. .. .. 115

Degli Innocenti .. .. .. .. , .. 100

"rx‘an Domenico .. .. .. .. .. 137

“ Fontegiusta . . .. . . .. .. 127

“San Francesco .. .. .. .. .. 120

,, Gherardo .. .. .. .. .. 1.22

,, Giorgio .. .. .. .. .. 113

,, Giovanni .. .. .. .. .. 113

* ,, Giovanni Battistero .. .. .. .. 90

230 INDEX.

*San Girolamo
* ,, Giuseppe ..
_*Madonna della Neve .. ..
* ,, sotto le Volte ..
Sta. Maria Maddalena
,, degli Angeli
,, della Scala
*San Martino ..
Santa Mustiola ..
San Niccolo
,, Pellegrino
,, Pietro e Paolo
,, ,, alla Magiono
,, ,, Ovile
Provenzano
San Quirico ..
Refugio
Santuccio
—-*Servi di Maria
\*San Spirito
,, Stefano
SS. Trinita
San Vincenzo . .
Don Diego Urtado
Fax-inata degli Uberti .
Fonto Branda .. ..
,, Diana
* ,, Gaia
., Giusta
., Nuova ..
Mates of the Town ..
“Hospital
Hotels, 860.
Leccetto ..
Library ..
Lizza ..
Loggia degli Uniti
,, del Papa
Lorenzo in Lago

*

PAGE
107
106
124
98
105
170
.. 96
.. 106
105
111
163
101
129
116
116
102
111
111
108
112
129
110
127
15

6

171
103
42, 59
127
.. 165
164-171
96

1

174
144
129
60
106
176

INDEX.
Marciano . . . . . . . .
Medici, Cosimo di .. .. ..
Monte Ape1t-o .. .. ..
,, Maggie .. ..
* ,, Olivetto Maggioie
*Munisteio .. .. .. ..

*Opem del Duomo
*Osservanza, (Convent) ..

Painters, &c.

Palaces :—

Palazzo Bandini Piccoloniini

Biehi Ruspoli

,, Bindi Sergardi

,, Buonsignori ..

,, dei Gori
,, della Dogana
del Diavolo ..
,, Grotanelli .. .. ..
Magnifico
,, Marsili
,, Nerneci

,, Pahnie1i
,, Piccolomini (del Gov erno)..
,, Pubblico
,, Beale ..

,, Salimbeni

,, Sansedoni .. .. ..
* ,, Saraceni
,, Spanocchi
Tolomei
Pandolfo Pet1ucci
Pontignano

Provenzano Salvani
Quattro Torri
Sallustio Bandini
San Giovanni d’Asso
Sordo Muti

Strozzi ..
University

CI 18

.. 165
.. 101

4 232 INDEX.

SAN GIMIGNANO.

Albergo delle due Piazza .. ..
Ardinghelli .. .
Benozzo Gozzoli . . ..
Berna .. ..
*Castel Vccchio ..
*Cellole ..
Churches :—
*Sant’ Agostino
Santa Chiara ..
*La Collegiata ..
San Francesco
,, Girolamo..
,, J acopo ..
,, L01 enzo ..
* della porta alla Fontc

9}
,, Madonna dci Lumi

COLLE .

Ghirlandaio

Hospita1.. ..

Mainardi. .. .. ..

Monte Olivetto Minoreu
,, Reggione

Palaces :—

*Palazzo Communale
,, Pasciolini

l’odesta

I’ratellesi

”

”

Poggibonsi
San Bartolo ..
Santa Fina .. ..
Staggia .. .. ..
Strambi Domenico ..
Tamagni Vincenzo

198,

204,

200,

 

PAGE
201
193
220
214
228
226

219
224
210
226
oor

Hui)
21‘)
225
225
204
227
199
224
200
226
202

206
219
205
207
203
223
215
202
221

200

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