CHAPTER XII

_In the Town of the Beautiful Towers_

San Gimignano is still surrounded by its second circuit of walls, built to inclose the Castello Nuovo at the end of the twelfth or beginning of the thirteenth century. The five massive towers that strengthen the walls were raised by the Florentines in the fifteenth century, and the whole town is surmounted by the Florentine castle, the Rocca di Montestaffoli. The three main gates have been preserved; the Porta San Matteo to the north, the Porta San Giovanni to the south, the Porta della Fonte to the east; and there is a smaller portal to the west, below the Rocca, the Porta di Quercecchio. And portions even remain of the first ancient circuit of walls that, during the eleventh and twelfth centuries, inclosed the Castello Vecchio; especially two massive _portoni_ in the chief street where the two chief gates stood, known as the Arco della Cancelleria and the Arco de' Becci or de' Talei, respectively. Even in 1355, Fra Matteo Ciaccheri could write of "the great ruin of the towers, of which many I see destroyed." At present, only thirteen of these towers are standing.

Until the great pestilence of 1348, San Gimignano was divided into four contrade: the contrade of the Castello, of the Piazza, of San Matteo and of San Giovanni. After 1348, it was divided into thirds, the contrade of the Castello and Piazza being made one. In the sixteenth century these three were further reduced to two, as at present; the Contrada di San Matteo and the Contrada di San Giovanni.

The centre of interest in the town is the former Piazza della Pieve, the historical scene of all the great State functions of the Republic, now called the Piazza Vittorio Emanuele. Here are the Collegiata or Pieve (sometimes, but incorrectly, styled the Duomo[187]), the Palazzo del Popolo or Palazzo Comunale (sometimes called the new Palazzo del Podestà), and the old Palazzo del Podestà.

The Collegiata, or Pieve, was originally built in the eleventh century and modified in the fourteenth, the stone columns of the nave with their curiously worked capitals and part of the exterior belonging to the earlier epoch. But, in 1466, Giuliano da Maiano came to the place and designed the new choir and chapels, with the result that the church is a peculiar combination of Romanesque and early Renaissance architecture. The walls of the aisles and between the two doors are a mass of glowing fresco painting, illustrating the whole story of Sienese art daring that epoch that intervened between the deaths of the Lorenzetti and the rise of the great painters (practically the scholars of Taddeo di Bartolo) of the Quattrocento--but presently yielding, like San Gimignano itself, to the Florentines. On the left, in three parallel series, are scenes from the Old Testament by Bartolo di Fredi, finished in 1356; the Creation and Expulsion from Paradise, Cain and Abel, the story of Noah, Abraham and Lot, the stories of Joseph, Moses, and Job. They impress us by their naiveté, the charm and grace with which the Sienese tell a story; note the delightful realism in the Building of the Ark, the beautiful group of women and children on the altogether impossible beasts intended for camels in the Crossing of the Red Sea. On the right are scenes from the New Testament, the life of Christ from the Annunciation to the Crucifixion; the later scenes have been destroyed (in the sixteenth century) to make room for the orchestra, but we can just see the remains of the Descent into Hades and the Ascension. They were begun by Barna of Siena, who fell from his scaffolding here and was killed in 1380, and finished by his pupil Giovanni da Asciano. Though of no surpassing merit, the scenes are well composed, in accordance with the usual tradition, and the painter has caught enough of Duccio's spirit for the sacred stories to receive fairly adequate illustration for devotional purposes. The whole scheme of decoration of the aisles and nave is to set forth the entire creed of mediaeval Christianity, in accordance with which we see on either side of the window of the right aisle (below which is a memorial tablet to Barna) the peacocks, the emblems of the Resurrection. Round the central window is what completes the whole tale of human life, from this point of view: the Last Judgment, painted by Taddeo di Bartolo in 1393. It is a mere variation of the usual mediaeval composition; Christ is enthroned as Judge, with Angels bearing trumpets and the emblems of the Passion, the Madonna and Baptist kneeling on either side as representing Divine Mercy and Divine Justice respectively; lower down are Enoch and Elijah as assessors, while the twelve Apostles are seated below the window. At the sides, to right and left of the Judge, are Heaven and Hell. Christ and His Mother are seen in the Empyrean, with Angels and Saints in the fruition of the Beatific Vision. The Hell is disgusting and vile, even beyond the usual fashion of these representations. Those who can endure it, will be able to work through its revolting details with the aid of the scrolls, and will be interested to note how certain Dantesque motives (the punishment of the panders and seducers is a good instance) have become coarsened and brutalised by the feebler imagination or provincial taste of the Sienese painter or his Sangimignanese employers.

After the pestilence of 1348, it was decreed that an altar should be built, between the two doors of the Pieve, in honour of St Fabian and St Sebastian, to put the survivors under their protection. The fresco that we now see in that place, under Taddeo's Last Judgment, by Benozzo Gozzoli, commemorates the pestilence of 1464, and was ordered by Fra Domenico Strambi, an Augustinian monk, who was regarded as the great theological light in San Gimignano in the latter part of the fifteenth century, and to whom many of the artistic monuments of the town are due. He had been sent to study theology in Paris, partly at the cost of the Commune, in 1454, and received a State welcome on his return. Benozzo, as the inscription states, finished the work, "to the praise of the most glorious athlete, St Sebastian," in January 1465 (that is, according to our modern reckoning, 1466). The Saint himself is impassive and stolid, though his body is a mass of arrows; the group of Florentines who seem practising archery, on our left, is the most satisfactory part of the fresco. Angels crown the martyr, Christ and the Madonna appear to him in glory above the clouds. In the frieze we see St Geminianus above with the model of his town, and, in the corners below, Bartolo and Fina. The Eternal Father with the Dove and the beautiful group of Angels (completing the scene of the Annunciation, with the two wooden statues of Mary and Gabriel by a Sienese sculptor of the preceding century) are also by Benozzo. His, too, are the Assumption on the left, the St Antony and four Saints on the pilasters. The Patriarchs opposite the scenes from the Old Testament, the medallions of the Apostles between the arches, the Christ above the steps to the choir, are by the priest, Pier Francesco Fiorentino, that curiously unprogressive painter of the latter part of the fifteenth century, whose works abound here and in the neighbourhood.[188]

At the end of the right aisle is the shrine of Santa Fina. The chapel is a perfect gem of later fifteenth century art; architecture, sculpture and painting are blended to form a plastic poem even more harmonious than that of the more strenuous virgin of Siena in San Domenico. It was designed by Giuliano da Maiano in 1468; the shrine itself, in pure white and gold, was executed by Giuliano's brother, Benedetto, in 1475. It is not quite as the sculptor left it. Above the sarcophagus are the Madonna and Child in a glory of cherubs with two Angels; underneath them are scenes from Fina's life in relief; her vision of St Gregory, her funeral, her appearing to heal a sick woman. These predella scenes were originally below, the present base of cherubs' heads and sacramental cups being more modern. Below, on either side of the tabernacle, are four Angels in niches, and two more (isolated statues) kneel with vases of flowers on either side of the altar. Upon the sarcophagus, with curious naked genii in the spirit of the Renaissance, is the inscription:--

"Virginis ossa latent tumulo quem suspicis, hospes. Haec decus, exemplum, praesidiumque suis. Nomen Fina fuit; patria haec; miracula quaeris? Perlege quae paries vivaque signa docent."[189]

And it is dated MCCCCLXXV. All round the chapel runs a frieze of cherubs' heads. In two large lunettes on either side are two admirable frescoes by Domenico Ghirlandaio, which have a freshness and simplicity that we hardly find elsewhere in his work. On the right is the bare, poverty-stricken room where Fina lies on her plank, which has already begun to break out into flowers beneath her. Her faithful nurse Beldi supports her head with the hand that, according to the legend, caught the disease, and another woman is seated by her; both are peasant types, in the dress of peasants at the painter's own day. They do not see the sudden vision of St Gregory in his glory, that sheds its splendour over the humble chamber, but they gaze up because of Fina's rapt face. Above, the Angels are carrying her soul up to Paradise. Opposite is the funeral, a picture full of those splendid Florentine portrait heads that Domenico painted so well. Fina has just placed her dead hand upon that of her nurse, and thereby cured her; Bishop Ranieri of Volterra, who had a few months back reconciled the conflicting factions of the town, is reading the office for the dead. In the background are the towers of San Gimignano, and the Angels are ringing the bells. These two frescoes appear to be very early works of the painter, who had probably been introduced to the Operaio of the Collegiata by either the architect or sculptor.[190] The Prophets and Saints in the angles and round the windows, the Evangelists on the ceiling are the work of Sebastiano Mainardi.

In the choir is a Madonna and Child with Saints and Angels, signed by Benozzo Gozzoli, and dated 1466. How stiff and archaic it seems by comparison with its neighbour, the Coronation of the Madonna by Pietro Pollaiuolo, signed and dated 1483, one of the pictures commissioned by Fra Domenico Strambi! Instead of Benozzo's heavy gold haloes in which the names of the saints are inscribed (a characteristic which he borrowed from his master Angelico), Pietro reduces this emblem of sanctity to an almost imperceptible thin ring of gold and makes their human side predominant. There is a certain harshness about Pollaiuolo's picture; Christ and the Madonna are unattractive types, and there is an excessive display of anatomical knowledge; but the admirable heads and powerfully modelled figures of the six saints--Geminianus and Bartolo (the two central figures), Augustine and Jerome, Fina and Nicholas of Tolentino--are unsurpassable in their way. The head of San Bartolo, especially, is a magnificent piece of painting. The beautiful mitres of Augustine and Geminianus on the ground show that the painter was also a goldsmith. On the left is a somewhat Raffaelesque Madonna and Child with Saints, one of the best works of Vincenzo Tamagni; the black monk kneeling in front is not Aquinas (as might be supposed from his attributes), but Nicholas of Tolentino who is much honoured in this town. The choir stalls date from 1490, and there are some illuminated choir books, one of them with ten excellent miniatures ascribed to Niccolò di Ser Sozzo Tegliacci, whose masterpiece in this kind we have seen at Siena.

San Gimignano was the first town in Italy to listen to the teaching of Fra Girolamo Savonarola, while Florence still rejected him. He preached the Lents of 1484 and 1485 in this very church. It was here that he first uttered the words of threefold prophecy that were soon to echo through the world. There was to be a renovation of the Church; but, first, the scourge of God would fall upon her and upon Italy; and these things would come speedily. Can we not imagine his eyes resting on Taddeo's Last Judgment at the end of the church, when he first mounted the pulpit, thrust back his cowl, and gazed round upon the assembled people?

In the sacristy there is an admirable bust, by Benedetto da Maiano, of Onofrio di Pietro, the Operaio of the Collegiata under whose superintendence the building was restored and the shrine of Santa Fina constructed; he died in 1488. The marble ciborium is also by Benedetto. A Madonna and Child with six Saints by Sebastiano Mainardi does not show that painter at his best. Out of the left aisle opens the chapel of San Giovanni, with a frescoed Annunciation of 1482, probably executed by Mainardi from the design of Ghirlandaio, and an old baptismal font (still used) made by Giovanni Cecchi of Siena in 1379 at the expense of the Arte della Lana, with quaint bas-reliefs of the Baptism of Christ, Angels and the _Agnus Dei_ of the Guild. This same Guild, together with the Commune, had previously borne the cost of Bartolo di Fredi's frescoes. There is a cloister attached to the Pieve with a few remains of frescoes, one of which--a Pietà--is ascribed by Mr Berenson to Pier Francesco Fiorentino.

At the side of the Collegiata is the Palazzo Comunale or Palazzo del Popolo, which was begun in 1288. Its great tower, the Torre del Comune, was begun in 1300 and finished about 1311, when the bell of the Commune was placed there. The palace is sometimes called the new Palazzo del Podestà, because after 1353 the Florentine Podestà resided here. The steps lead up to the platform upon which the Podestà stood when he presented his credentials and received the baton and keys from the Gonfaloniere, and it was at its steps that the two Ardinghelli had been beheaded in 1352. There is a picturesque court, with fragments of frescoes and armorial bearings, and a well of 1360. To the right of the court is what was once the Cappella delle Carceri. Opposite the door is a fresco of the Madonna and Child enthroned, with St Geminianus and another bishop, of the school of Taddeo di Bartolo. By Bazzi (hastily executed and much repainted) are frescoes in chiaroscuro, representing St Ivo, the just young judge, administering justice to the poor and helpless, and, at the foot of the stairs, a magistrate seated between Truth and Prudence, trampling upon the Lie.

In the Sala del Consiglio, the councils of the Commune met in the fourteenth century, and it was here that Dante, on May 7th, 1300, spoke on behalf of the Guelf League of Tuscany. Here are remains of remarkable frescoes painted in 1292, and which he must therefore have seen; they represent hunting scenes and jousting, knights dashing against each other with swords and lances in the regular Arthurian style, a centaur slaying a hydra, Scolaio Ardinghelli arbitrating between the Commune and the clergy. This latter scene refers to a great dispute that began in 1290 between the Commune and the clergy of the town, concerning tithes and taxes. When the Bishop of Volterra put the place under the interdict, the people broke down the doors of the Pieve and had Mass celebrated there in spite of him, upon which the Proposto and his clergy left, carrying off the pictures and other treasures of the church with them. Pope Nicholas IV. intervened, and at last the matter was referred to Scolaio Ardinghelli, a prelate high in favour with the Pope, who in April 1292 decided in favour of the Commune. The picture was ordered by the latter in the same year. The rest of the frescoes were destroyed to make way for the large fresco by Lippo

Memmi, painted in 1317 in imitation of the work his brother-in-law had just completed in Siena, representing the Blessed Virgin and her Son enthroned and surrounded by the celestial court of Saints and Angels, while Messer Nello di Mino Tolomei of Siena, podestà and captain of the Commune and People of San Gimignano, kneels at her feet under the patronage of St Nicholas. In his rhymed chronicle, Fra Matteo deals somewhat hardly with this dignified magistrate, calling him the ruin of the town, _disfacimento di San Gimignano_, accusing him of stirring up the people. The fresco was restored by Benozzo Gozzoli in 1467, who painted the four saints at the sides.

The Pinacoteca, on the third floor of the Palace, contains some excellent works. The more important are the following:--A triptych by Taddeo di Bartolo, the Madonna and Child with Saints, the Annunciation, Christ blessing with St Peter and St Paul above; the Madonna and Child, with the Baptist and St Francis, St Gregory and Santa Fina (the latter very sweet and golden-haired, with her flowers), a good Florentine work of the school of Benozzo Gozzoli; St Bartholomew with scenes from his martyrdom, by Lorenzo di Niccolò of Florence, dated 1401; two little panels with four miracles of Santa Fina, probably by the last-named painter; St Geminianus enthroned with a model of the town, with eight scenes of his miracles, including his appearance on the walls of San Gimignano to drive back Attila, by Taddeo di Bartolo; a triptych, by an unknown painter of the Quattrocento, representing St Julian with St Antony and St Martin, on either side of which are little pictures of Santa Fina and St Gregory, perhaps by Lorenzo di Niccolò; a Madonna and Child with two Saints (restored), by Pier Francesco Fiorentino; two excellent _tondi_ by Sebastiano Mainardi. At the end of the room are the two chief treasures of the collection. The Madonna alone in a glory of Cherubs, with a pope and an abbot kneeling in adoration in a beautiful landscape, is one of the finest of Pinturicchio's works, in colour and in expression; it was painted for the convent of the Olivetani outside the Porta San Giovanni. On either side of it are two _tondi_ representing the Annunciation, in beautiful old frames; these were commissioned by the Commune in 1482, and, though in colour and form they curiously approach Botticelli, appear to be early works of Filippino Lippi. M. Paul Bourget especially admires the Gabriel, "un Ange annonciateur au profil douloureusement extatique, aux mains blanches et fines dans leur longueur." There is also an altar-piece by Fra Paolino da Pistoia, which may possibly have been painted by him from a design of Fra Bartolommeo's, but is very poor in execution. There are several frescoes ascribed to Pier Francesco Fiorentino in other rooms of the Palace.

Opposite the Collegiata is the old Palazzo del Podestà, where that magistrate resided until San Gimignano surrendered to Florence. It was built in the thirteenth and enlarged early in the fourteenth century. There is some antique iron work, including a fine _fanale_, on the façade, and in the Loggia are the remains of a fresco painted by Bazzi in 1513. Its tall tower, only slightly lower than that of the Torre del Comune, originally called the Rognosa and, after 1407, the Torre dell' Orologio, marked the limit to which noble citizens might build their private towers. When at nightfall its bell, those of the Pieve and the more sonorous one of the Commune answer each other, the Sangimignanesi assure me that the sound can be heard in Florence. The tower near it is that of the Savorelli.

Adjacent to the Piazza Vittorio Emanuele is the Piazza Cavour, formerly called the Piazza della Cisterna from the old octagonal well of 1273 that still adorns it. On the left is the imposing Torre Pratellesi, originally the tower of the Palazzo Paltoncini in which the Podestà occasionally held his court in the first half of the thirteenth century. Opposite to it, is the tasteful little Gothic brick Palazzo Friani, a restored structure of the fourteenth century. Here is the tall, grass-grown Torre Cinatti, one of the most characteristic of the noble towers of the town. The two dismantled towers on the right are the remains of the palace of the Ardinghelli, in which the councils of the Commune met occasionally in the thirteenth century. At the corner of the Piazza is the Portone de' Beccie Cugnanesi, or Arco dei Talei, of the original circuit of walls before the end of the twelfth century, to the right of which is the picturesque Vicolo de' Becci, ending under a massive arch with one of those quaintly picturesque views that make the town an artistic delight at every turn.

Between the Via San Matteo and the Piazza dell' Erbe are remains of a large palace, with two very tall twin towers. This appears to have been the Palazzo Salvucci,[191] the towers still showing traces of the fires kindled round them by the vengeful Ardinghelli. Opposite them, in the Via San Matteo, is the Torre Pettini. Thence we pass under a massive double arch, the Arco della Cancelleria or Portone di San Matteo, of the first circuit of walls. On our right are the Library and small Dante Museum, the latter inaugurated on the sixth centenary of Dante's embassy to the town. A little further on, the church of San Bartolo has a picturesque façade of the eleventh century. Beyond is the great palace tower of the Pesciolini (according to a quite unhistorical tradition once the residence of Desiderio, King of the Lombards), in the style of the fourteenth century. The basement of what was once a palace, on the left, has decorative frescoes of the school of Poccetti. At the Porta San Matteo, we turn down the little lane within the walls to the Piazza Sant' Agostino.

The church of Sant' Agostino was built between 1280 and 1299. It was consecrated by the Cardinal Matteo d'Acquasparta--a short while before that very unsatisfactory prelate's attempt to make peace in Florence while Dante sat in the priorate. On the right of the principal entrance is the chapel of San Bartolo, constructed in 1494 by order of the Commune. The tomb itself is the work of Benedetto da Maiano and his pupils, but hardly equal to the one that Benedetto had made for Fina. The _tondo_ of the Madonna and Child, in which the Mother is guiding the Infant's little hand to bless the people, is most exquisite, and probably it (with, perhaps, the three theological virtues) is the only part executed by the master himself. The three Saints on the wall, the four Doctors on the ceiling were painted by Sebastiano Mainardi. The picture over the next altar, of the same year 1494, the Madonna and Child, with many Saints and a tiny little Dominican friar as donor, is one of the best works of Pier Francesco Fiorentino. The frescoed Pietà above is ascribed to Vincenzo Tamagni. Then comes one of those curious symbolical representations of the Passion, which Don Lorenzo and Fra Angelico had made traditional. The second altar, dedicated to St Nicholas of Tolentino, has frescoes of 1529 by Vincenzo Tamagni, representing the Madonna and Child with Angels, St Nicholas of Tolentino and St Rock, St Antony the abbot and St Paul the first hermit. At the first altar on the left, the chapel of the Crocifisso, are more frescoes by Tamagni; kneeling opposite the Magdalene at the foot of the Cross is St Clare of Montefalco, holding in her hand her heart marked with the signs of the Passion; the St Margaret on the left is a thoroughly Raffaelesque figure, while the Madonna and St John are more like Perugino at his weakest. Then comes St Sebastian taking the people of San Gimignano under his protection in the time of pestilence, an admirable fresco by Benozzo Gozzoli; around the Apollo of Christian legend gather the people of the town in prayer; in spite of Christ and Mary, the Eternal Father and the Angels of wrath are hurling down the arrows of pestilence, but these are broken into pieces by other Angels at Sebastian's intercession. Over the third altar is the Madonna delle Grazie with St Michael, originally a fresco by Lippo Memmi, but completely repainted and modernised.

The fresco at the steps, by Sebastiano Mainardi, inscribed _S. Geminianus Silviaci Populi Gubernator_, is a masterpiece of municipal sentiment. The Saint sits enthroned as bishop, while the three local worthies kneel before him to receive his blessing; Mattia Lupi, the bald-headed poet with his crown of laurel, who wrote in Latin verse the annals of the town and died in 1468; Domenico Mainardi, a noble-looking, grey-haired ecclesiastic, a distinguished canonist, who lectured at Bologna, Florence and Siena, was chaplain to Pope Martin V., and died in 1422; Nello de' Cetti, a writer on civil law who died in 1430. The fresco is dated 1487. The heads are fine, almost worthy of Ghirlandaio, but they have been somewhat restored. Below it lies Fra Domenico Strambi, "Parisian Doctor," the patron of Benozzo and Pollaiuolo, who died in the following year. In the chapel to the left of the choir is the Nativity of Mary, a curiously archaic picture by Tamagni, and in the chapel to the right are two frescoes representing her birth and death, ascribed to Bartolo di Fredi.

The frescoes by Benozzo Gozzoli in the choir, begun for Fra Domenico Strambi in 1463 and finished in 1465, are among the supreme achievements of Florentine painting in the third quarter of the Quattrocento. They set forth the chief events in the life of St Augustine, partly drawn from the _Confessions_. The first fresco, in which the little Augustine is taken to school by his parents, Patritius and Monica, is admirable for the freshness and naiveté with which the whole comedy of school-life, past and present, is treated. The drastic methods adopted by the schoolmaster in dealing with the little idler are specially referred to in the _Confessions_, where Augustine seems to remember his floggings with a curious sense of injury and injustice.[192] In the next (partly obliterated), we have his admission to the University of Carthage at the age of nineteen--that season of lawless loves and Manichaean errors so inimitably described at the beginning of the third Book. On the window wall, much damaged and restored, are St Monica praying for him, his crossing the sea and arrival in Italy. Next, we see him teaching philosophy and rhetoric in Rome, the usual composition of the lecturer and his pupils which we find elsewhere in the art of the fifteenth century, with those splendid portrait heads that make the modern student realise the wonderful intellectual vigour of these Florentines of the Renaissance. Then comes the journey from Rome to Milan, whither Augustine is sent by the Roman prefect Symmachus, in answer to the Milanese request for a teacher of rhetoric; even so might young Pico della Mirandola have looked when he first came to Florence. This somewhat, indeed, recalls the style of the Procession of the Magi in the Palazzo Riccardi, but is naturally in a more chastened style. Above, two white-robed, green-winged Angels bear a scroll in honour of Fra Domenico Strambi, who--it is expressly stated--at his own cost had bidden Benozzo paint here; it is dated 1465. Then Augustine arrives at Milan, makes the acquaintance

of Ambrose, is received by the Emperor Theodosius. After this he listens to St Ambrose preaching, St Monica kneels before the latter (whom, writes the Saint, she loved as an Angel of God), and Augustine begins to be convinced. On the window wall we have the wonderful scene in the garden, where Augustine and Alypius are finally and simultaneously converted by the reading of the Epistle to the Romans--after Augustine has heard the child's voice singing again and again from the neighbouring house: _Tolle, lege; tolle, lege_, "Take and read: take and read."[193] This is followed by his Baptism. Next Augustine, black-robed and aureoled, is among the monks, and meets the little child by the shore who rebukes him for attempting to penetrate into the mystery of the Trinity. After this comes perhaps the finest picture of the whole series, the Death of St Monica, with, at the window high up on the left, the famous conversation at Ostia which preceded it;[194] the youth standing behind Augustine with clasped hands is his son Adeodatus, _ex me natus carnaliter, de peccato meo_. Monica is sitting up in her bed to receive the Christ Child in the Host, and above her soul is being carried up to Paradise in the usual little cloud (the _nubiletta bianchissima_ of Dante's _Vita Nuova_) by Angels. On the right of the fresco, Augustine is returning to Africa. In the four remaining frescoes of the lunettes and on either side of the window, Augustine as Bishop of Hippo blesses his people, he confutes the heretic Fortunatus, has a vision of the glory of St Jerome in Paradise, and at last follows him. This last fresco, representing the death and apotheosis of Augustine, is also an admirable work. Full of expression and excellently composed, it is one of those traditional death scenes which, in their ultimate analysis, proceed from Giotto's Death of St Francis. The Evangelists on the ceiling, the eight Saints on the pilasters are also by Benozzo. In these frescoes he was assisted by pupils and apprentices, chief among whom was a certain Giusto di Andrea, who had previously worked with Fra Lippo Lippi.

Also in the Piazza Sant' Agostino is the small church of San Pietro, which has the peculiar distinction of depending upon the bishopric of Volterra, while all the other churches of the town are subject to the Bishop of Colle. It contains several fragments of frescoes of the fourteenth century, still partly under whitewash. Over the altar on the right is a frescoed Madonna and Child with the Baptist and St Paul, of the school of Lippo Memmi, in which--a rather unusual motive--the Child is running to the Mother, clasping her hand in one and holding a fruit in the other hand.

In the Via Venti Settembre, on the left, is Santa Chiara. The altarpiece is a good work of the chief Florentine painter of the seventeenth century, Matteo Rosselli. It represents Christ enthroned upon the clouds, between the Madonna and the Baptist; below are St Francis and St Louis of France on our left, while on our right--a motive equally happy in conception and execution--St Clare is bringing Santa Fina into the celestial company. There are several pictures ascribed to Rosselli in the town, but this is the only one in the least degree worthy of the painter of the David of the Pitti. Further on, on the right, are the Hospitals, including the Spedale di Santa Fina, founded shortly after her death by the Commune, partly from the alms of pilgrims. In 1274 two special officers, _Esortatori_, were appointed to visit sick persons, to beg alms or legacies for the institution. In the entrance hall, formerly the chapel, are frescoes by Mainardi; four Saints in lunettes and, over the door, a Madonna and Child blessing those that enter. In the chapel is preserved the _tavola_, the board upon which Fina made her hard bed of expiation for the sins of the world, and which blossomed out into flowers when her sacrifice was accomplished.[195] Beyond is San Girolamo, a church belonging to a convent of Vallombrosan nuns, with an altarpiece by Vincenzo Tamagni of 1522, with an upper part added by a later hand. At the end, connected with the former convent by a covered way across, is the church of San Jacopo, which belonged to the Knights Templars before the nuns had it; it is a building of the eleventh century (said to have been built in 1096 by the Sangimignanesi who returned from the Crusades), lovely in its ruin, in a little inclosed plantation of olive trees. The ornamented terra-cotta window and the curious coloured plates on the façade are noteworthy. Within are old frescoes, apparently of the Sienese school of the fourteenth century. Mr Berenson ascribes the St James on the pilaster to Pier Francesco. Then we pass out, through a breach in the walls, to the olive trees that clothe them, and to the sweeping view of the valley beyond.

At Santa Chiara, the Via della Fonte leads down between vineyards and old walls to the Porta della Fonte, over which is a chapel. Outside, over the gate, a statue of St Geminianus records the attempt of the Ardinghelli and their allies to capture the town for the Duke of Athens at this point, in 1342. The wonderfully picturesque fountains below, where the women linger over their washing and carry up pitchers to the houses, were constructed in the thirteenth and fourteenth centuries. A little to the left, among the olives, flaming poppies and purple foxgloves, where a few oaks still remind us of the woods of old, there is a superb view of the "Castello della Selva" right above us, with eight of its towers visible.

The large prison that rises up at the walls, to the left of us, occupies the site of the Rocca that defended the town until the Florentine occupation in 1353. After that, a Dominican convent was built upon the spot--the convent in which Savonarola stayed while preaching the Lent in the Pieve. It was suppressed in the eighteenth century by the Austrian Grand Duke of Tuscany. Opposite to it, in the Via del Castello, is the little church of San Lorenzo in Ponte, with a few unimportant frescoes of the Trecento.

Passing under the Arco de' Talei into the Via San Giovanni, we see a large piece of the first circuit of walls on the right, adjoining the Portone, blackened apparently by fire, and the tall Torre Talei. Opposite the tower is a shrine, with a ruined fresco by Mainardi. In the refectory of a former convent of Benedictine nuns (now the Palazzo Pratellesi) is a very Peruginesque fresco by Vincenzo Tamagni, representing the mystical marriage of St Catherine of Alexandria; it is dated 1528. On the left is the dismantled façade of San Giovanni, a building of the eleventh century. Over the inside of the gate is a chapel built in 1601 to cover a venerated picture, but the outside of the Porta San Giovanni is still unspoiled thirteenth century architecture.

A short way beyond the Porta San Giovanni is the former monastery of Monte Oliveto, founded in 1340 by Giovanni di Gualtiero Salvucci. In the lunette over the door of the church is a fresco of the Madonna between two white-robed monks, possibly by Tamagni. There is a Madonna of 1502 in the church by Mainardi, and two Sienese pictures of the school of Lippo Memmi are in the sacristy. In the cloister is a frescoed Crucifixion by Benozzo Gozzoli, with St Jerome beating his breast and saying the Rosary at the foot of the Cross. Beyond Monte Oliveto, a road of olives and barley fields leads to the small hamlet of Santa Lucia. In its church are a fresco of the Crucifixion, with a little Dominican kneeling at the foot, by Pier Francesco, and a picture by Fra Paolino--one of those compositions of Madonnas and Saints that he inherited from Fra Bartolommeo.

Outside the Porta San Matteo is the convent of the Cappuccini. In its church is a Deposition from the Cross of 1591, ascribed to Jacopo Ligozzi of Verona. About two miles further on, with a splendid view over the valley, is Cellole, a Romanesque church of the first years of the thirteenth century. Attached to it was the Leper Hospital, where San Bartolo devoted his life to the stricken and where at last, himself overtaken by the fell disease, he became one with the rest and died.

Behind the Collegiata, the way leads up to the Rocca di Montestaffoli, the fortress which the Florentines built after 1353, to maintain their hold upon the town. "The Commune of Florence," writes Matteo Villani, "because it wished to live more secure of the town of San Gimignano and to remove every cause of evil thinking from its townsfolk, began to have made and finished, without leaving off the work at their expense, a great and noble Rocca and fort, the which was raised above the Pieve, where was the church of the Friars Preachers. And that church it had rebuilt, larger and more beautiful, on the other side of the town lower down."[196] It was dismantled, two hundred years later, by Cosimo de' Medici. The greater part of it is now a garden, with the old well in the middle of it. Ivy and purple foxgloves clothe the walls; figs and olives and cherries grow where once the _fanti_ of the Florentine captains lolled in their tight parti-coloured dress. The varied noises rising from the town mingle pleasantly with the humming of bees. The highest part commands a superb view over the valley of the Elsa bounded by the distant mountains, the _terra_ itself below with, close at hand, the _belle torri_ rising as it were in the face of their Florentine lords, and away northwards is Boccaccio-haunted Certaldo. One at least of Messer Giovanni's fair heroines came from San Gimignano--the Isabetta whom English poets and English painters have surely made our own. Her father, it will be remembered, was a citizen of San Gimignano who had settled in Messina.

San Gimignano must be seen on some day of festa and procession, such as that solemnity of Santa Fina which is kept once in every five years on the first Sunday in August, or, more easily perhaps, on the annual celebration of the _Corpus Domini_. On the afternoon of the vigil of the latter day, the children wander out over the fields of all the country round for miles, returning at nightfall with baskets full of red and yellow flowers (the colours of the Commune), to be scattered in the way on the morrow. Then on the morning of the Festa, after High Mass at the Duomo, the procession passes under the Tower of the Commune, through the streets, between those grim towers, beneath the massive dark portoni, round and round the piazze. First come the various companies and confraternities of the contado with their priests and banners, then the Cappuccini with the gigantic black crucifix, followed by the canons of the Collegiata and, under the baldacchino, the Proposto bearing the Blessed Sacrament. The procession is almost exclusively composed of men and boys, the women and girls contenting themselves with scattering the red and yellow flowers before it as it advances. The crowd follows from place to place, falling down in adoration as the Sacred Host comes past. The bandsmen, the one obtrusive note of municipal modernity, with their uniforms, their white plumes and tricoloured favours, only make themselves evident at intervals, and whatever there may be of tawdriness in the decorations and the finery is lost and transfigured in the glory of the Tuscan early summer. Old Latin hymns, the Church's heritage from the remotest Middle Ages, mingle and harmonise with the clamour of the bells that clashed out a _stormo_ while Guelfs and Ghibellines struggled madly together in these very streets through which the waving banners move to-day, that rang a _gloria_ for the coming of Bishop Ranieri the peacemaker, or were swung to and fro by the hands of invisible Angels when the maiden Fina died. What more would the seeker for fresh sensations in Italy desire?

BIBLIOGRAPHICAL APPENDIX

The following short note on Books and Authorities is not intended as a complete bibliography, but simply as a guide to further information upon the subjects dealt with in the present volume, and upon others which the limited space at my disposal has compelled me to treat somewhat cursorily and summarily.

_A._--HISTORY.

Orlando Malavolti, _Historia de' Fatti e Guerre dei Senesi, così esterne come civili, seguite dall' origine della lor Città, fino all' anno_ M.D. LV. Venice, 1599.

Giovanni Antonio Pecci, _Memorie storico-critiche della Città di Siena_. Four volumes. Siena, 1755-1760. Taking its start from _La vita civile di Pandolfo Petrucci_, this work tells the whole history of Siena from 1480 to 1559.

The _Cronica Senese_ in Muratori, _Rerum Italicarum Scriptores_, vol. xv. Milan, 1729. A series of chronicles by Andrea Dei and Agnolo di Tura (1186-1352), Neri di Donato (1352-1382), and another erroneously called Agnolo di Tura (1382-1385).

_Annali Senesi_ (1385-1422), in Muratori, _Rerum Italicarum Scriptores_, vol. xix. Milan, 1731.

_La Cronica di Bindino da Travale_ (1315-1415), _edita a cura di_ Vittorio Lusini. Siena, 1900. Amusing reading, but of small historical importance.

_Diari scritti da_ Allegretto Allegretti _delli cose senesi del suo tempo_, in Muratori, _Rerum Italicarum Scriptores_, vol. xxiii. Milan, 1733. Referred to in the present work as _Diari Senesi_; they run from 1450 to 1480.

_Statuti Senesi; scritti in volgare ne' secoli xiii. e xiv., e pubblicati secondo i testi del R. Archivio di Stato in Siena, per cura di_ F. L. Polidori _e_ L. Banchi. Three volumes. Bologna, 1863, 1871, 1877.

_Il Costituto del Comune di Siena, volgarizzato nel_ MCCCIX. _e_ MCCCX. _da Ranieri di Ghezzo Gangalandi, edito per cura di_ Luciano Banchi. Siena, 1874.

Giuseppe Porri, _Miscellanea Storica Senese_. Siena, 1844. This contains:--

(1) _Il primo libro delle Istorie Senesi di_ Marcantonio Bellarmati.

(2) _La Sconfitta di Montaperti_, from the chronicles of Domenico Aldobrandini.

(3) _La Sconfitta di Montaperti di_ Niccolò di Giovanni di Francesco Ventura. (Written in 1442. The fullest and most picturesque account of the battle from the purely Sienese point of view.)

(4) _Cenni sulla Zecca Senese._

Cesare Paoli, _La Battaglia di Montaperti_. Siena, 1869.

_Il Libro di Montaperti, pubblicato per cura di_ C. Paoli. Florence, 1889.

Pasquale Villari, _I primi due secoli della Storia di Firenze_. Two volumes. Florence, 1893, 1894.

Leonardo Bruni, _Istoria Fiorentina tradotta in volgare da_ D. Acciaiuoli. (Containing the original Latin text and Acciaiuoli's translation.) Three volumes. Florence, 1855-1860.

Giuseppe Rondoni, _Sena Vetus o il Comune di Siena dalle origini alla battaglia di Montaperti_. Turin, 1892.

Luciano Banchi, _Il Piccinino nello Stato di Siena e la Lega Italica (1455-56)_; _Ultime Relazioni dei Senesi con Papa Calisto III._ In the _Archivio Storico Italiano_, series iv., vols. iv. and v. Florence, 1879, 1880.

Pius II., _Aeneae Silvii Piccolominaei Historia Rerum Friderici Tertii Imperatoris_. Strasburg, 1685.

Pius II., _Pii Secundi Pontificis Maximi Commentarii Rerum Memorabilium quae temporibus suis contigerunt_. Rome, 1584.

Ludwig Pastor, _The History of the Popes from the Close of the Middle Ages_. English translation. London, 1891-1900.

Alessandro Lisini, _Relazioni tra Cesare Borgia e la Repubblica Senese_ (conferenza, or lecture, to the R. Accademia dei Rozzi). Siena, 1900.

Niccolò Machiavelli, _Opere_. The edition referred to in the present work is always that published in eight volumes at Florence ("Italia") in 1813.

Pasquale Villari, _Niccolò Machiavelli e i suoi tempi_. Second edition in three volumes. Milan, 1895, 1896.

_Diario delle cose avvenute in Siena dai 20 luglio 1550 ai 28 giugno 1555, scritto da_ Alessandro Sozzini.

_La Cacciata della Guardia Spagnola da Siena d'incerto autore_, 1552.

_Racconti delle principali fazioni della guerra di Siena, scritti da_ Girolamo Roffia, 1554. These three contemporary works, with documents and appendices, are in the _Archivio Storico Italiano_, series i., vol. ii. Florence, 1842.

_Giornale dell' Assedio di Montalcino fatto dagli Spagnoli nel 1553 di autore anonimo_. In the _Archivio Storico Italiano_. Appendix, vol. viii. Florence, 1850.

_Commentaires du Maréchal Blaise de Montluc_ (edited by J. A. C. Buchon). In the _Panthéon Littéraire_. Paris, 1836.

_The Commentaries of Messire Blaise de Montluc, Maréchal of France._ Translated by C. Cotton. London, 1674.

U. G. Mondolfo, _Pandolfo Petrucci: Signore di Siena_. Siena, 1899.

Giuseppe Rondoni, _Siena nel secolo xvi._ In _La Vita Italiana nel Cinquecento_. Milan, 1894.

Cesare Paoli, Article on _Siena_ in the _Encyclopædia Britannica_, vol. xxii. Edinburgh, 1887.

PERIODICAL PUBLICATIONS.

_Miscellanea Storica Senese._ Siena, from 1893 onwards.

_Bullettino Senese di Storia Patria._ Siena.

_B._--ART.

J. A. Crowe and G. B. Cavalcaselle, _A new History of Painting in Italy from the second to the sixteenth century_. Three volumes. London, 1864. (A new edition is announced in preparation by Mr Langton Douglas.)

G. B. Cavalcaselle and J. A. Crowe, _Storia della pittura in Italia dal Secolo II. al Secolo XVI._ Eight volumes. Florence, 1886-1898.

Vasari, _Le Vite de' più eccellenti pittori, scultori ed architettori; con nuove annotazioni e commenti di_ Gaetano Milanesi. Eight volumes. Florence, 1878-1882.

_Documenti per la Storia dell' Arte Senese, raccolti ed illustrati da_ Gaetano Milanesi. Three volumes. Siena, 1854-1856.

_Nuovi Documenti per la Storia dell' Arte Senese, raccolti da_ S. Borghesi e L. Banchi. Siena, 1898.

Giovanni Morelli, _Italian Painters_, translated by C. J. Ffoulkes. Two volumes. London, 1891-93.

Giovanni Morelli, _Della Pittura Italiana; studi storico-critici_. (Same work in Italian.) Milan, 1897.

Gustavo Frizzoni, _L'Arte Italiana del Rinascimento_. Milan, 1891.

Bernhard Berenson. _The Central Italian Painters of the Renaissance_. New York and London, 1897.

C. C. Perkins, _Historical Handbook of Italian Sculpture_. New York, 1883.

Marcel Raymond, _La Sculpture florentine_. Four volumes. Florence, 1897-1901.

Carl Cornelius, _Jacopo della Quercia_. Halle, 1896.

Alessandro Lisini, _Notizie di Duccio Pittore e della sua celebre Ancona_ (estratto dal _Bullettino Senese di Storia Patria_, anno v. fasc. 1). Siena, 1898.

Pietro Rossi, _L'Arte Senese nel Quattrocento_ (conferenza, or lecture, to the R. Accademia dei Rozzi). Siena, 1899.

Evelyn March Phillipps, _Pintoricchio_. London, 1901.

Maud Cruttwell, _Luca Signorelli_. London, 1900.

William Heywood, _A pictorial Chronicle of Siena_. Siena, 1902.

R. Hobart Cust, _The Pavement Masters of Siena_. London, 1901.

G. W. Kitchin, _Life of Pius II_. (as illustrated in Pinturicchio's frescoes). Arundel Society.

_Catalogo della Galleria del R. Istituto Provinciale di Belle Arti in Siena_. Siena, 1895.

_C._--THE SAINTS OF SIENA.

Girolamo Gigli, _L'opere della Serafica Santa Caterina da Siena_.

Vol. i. _La Vita_, translated by Bernardino Pecci from the Latin _Leggenda_ of the Beato Raimondo da Capua (referred to in the present work as _Leggenda_); the letter describing her life from Stefano Maconi to Tommaso Nacci Caffarini, and the letter describing her death from Barduccio Canigiani to Suor Caterina Petriboni. Siena, 1707.

Vol. ii. and vol. iii. _L'Epistole della Serafica Vergine Santa Caterina_. Lucca, 1721, and Siena, 1713.

Vol. iv. _Il Dialogo della Serafica Vergine_, and her minor works. Siena, 1707.

Vol. v. _Supplimento alla vulgata leggenda di Santa Caterina da Siena_, by Tommaso Nacci Caffarini, translated by Amb. Ansano Tantucci. Lucca, 1754.

_Le Lettere di Santa Caterina da Siena ridotte a miglior lezione, con proemio e note di_ Niccolò Tommaseo. Four volumes. Florence, 1860. (In quoting from the letters in the present work, I have always adopted the text and the numeration of this edition.)

_Leggenda minore di Santa Caterina da Siena e Lettere dei suoi Discepoli, scritture inedite pubblicate da_ Francesco Grottanelli. The _Leggenda minore_ was written in Latin by Tommaso Nacci Caffarini and translated into Italian by Stefano Maconi. Bologna, 1868.

Alfonso Capecelatro, _Storia di Santa Caterina da Siena_. Fourth edition. Siena, 1878.

Augusta T. Drane, _The History of St Catherine of Siena and her Companions_, with a translation of her treatise on Consummate Perfection. Two volumes. London, 1899.

F. Alessio, _Storia di San Bernardino e del suo tempo_. Mondovi, 1899.

P. M. Oraffi, _Vita del Beato Bernardo Tolomei_. Venice, 1650.

Silvano Razzi, _Vite de' Santi e Beati Toscani_. Florence, 1593-1601.

Gaspero Olmi, _I Senesi d'una volta_. Siena, 1889.

_D._--MISCELLANEOUS.

_Siena e il suo Territorio._ Siena, 1862.

E. A. Brigidi, _La Nuova Guida di Siena e dei suoi aintorni_. Siena, 1901, etc.

Girolamo Gigli, _Diario Senese, in cui si veggono alla giornata tutti gli avvenimenti più ragguardevoli spettanti sì allo Spirituale sì al Temporale della Città e Stato di Siena_. Two volumes. Lucca, 1723.

Girolamo Gigli, _La città diletta di Maria_. Rome, 1716.

Giovanni Antonio Pecci, _Storia del Vescovado della città di Siena_. Lucca, 1748.

Scipione Bargagli, _I Trattenimenti dove da vaghe donne e da giovani huomini rappresentati sono honesti e dilette voli giuochi, narrate novelle, e cantate alcune amorose canzonette_. Venice, 1587.

Giuseppe Rondoni, _Tradizioni popolari e leggende di un comune medioevale e del suo contado_. Florence, 1886.

Lodovico Zdekauer, _Lo Studio di Siena nel Rinascimento_. Milan, 1894.

Lodovico Zdekauer, _Il Mercante Senese nel Ducento_. (A lecture with an Appendix of Documents.) Siena, 1900.

Vittorio Lusini, _Storia della Basilica di San Francesco in Siena_. Siena, 1894.

Vittorio Lusini, _Il San Giovanni di Siena_. Florence, 1901.

Antonio Canestrelli, _L'Abbazia di San Galgano_; monografia storico-artistica. Florence, 1896.

Bartolommeo Aquarone, _Dante in Siena: ovvero accenni nella Divina Commedia a cose senesi_. Siena, 1865.

Alessandro d'Ancona, _Cecco Angiolieri da Siena_. In _Studi di Critica e Storia Letteraria_. Bologna, 1880.

Giosuè Carducci, _Rime di M. Cino da Pistoia e d'altri del secolo XIV_. Florence, 1862.

_Le Rime di Folgore da San Gimignano e di Cene da la Chitarra d'Arezzo, nuovamente pubblicate da_ Giulio Navone. Bologna, 1880.

Giuseppe Errico, _Folgore da San Gimignano e la Brigata Spenaereccia_. Naples, 1895.

John Addington Symonds, _Sketches and Studies in Italy and Greece_. Third volume contains studies on Siena, Folgore, Monte Oliveto, and Montepulciano. London, 1898.

Ambrogio Landucci, _Sacra Leccetana Selva, cioè origine e progressi dell' antico e venerabile Eremo e Congregatione di Lecceto in Toscana_. Rome, 1657.

Fra Filippo Agazzari, _Gli Assempri, testo di lingua inedito pubblicato per cura di_ F. C. Carpellini. Siena, 1864.

William Heywood, _Our Lady of August and the Palio of Siena_. Siena, 1899.

Antonio Marenduzzo, _Veglie e Trattenimenti Senesi nella seconda metà del secolo XVI_. Trani, 1901.

Montgomery Carmichael, _In Tuscany_. Contains chapter on the Spanish Praesidia. London, 1901.

Luciano Banchi, _I porti della Maremma Senese durante la Repubblica_. In the _Archivio Storico Italiano_, series iii., vols. x., xi., xii. Florence, 1869-1871.

_E_.--SAN GIMIGNANO.

Giovanni Francesco Coppi, _Annali, memorie ed huomini illustri ai San Gimignano_. Florence, 1695.

Luigi Pecori, _Storia della Terra di San Gimignano_. Florence, 1853.

Matteo Villani, _Istorie Fiorentine_ (in continuation of those of his brother Giovanni). In Muratori, _Rerum Italicarum Scriptores_. Vol. xiv. Milan, 1729; and elsewhere.

_Cronachetta di San Gimignano composta da_ Fra Matteo Ciaccheri Fiorentino, _l'anno MCCCLV_. Bologna, 1865. Fra Matteo was a native of San Gimignano; he calls himself a Florentine because, when he wrote, all his fellow-townsmen had become Florentine citizens.

Gino Capponi, _Storia della Repubblica di Firenze_. Appendix to vol. i. Florence, 1878.

Ugo Nomi V. Pesciolini, _Le Glorie della Terra di San Gimignano_. Siena, 1900.

Natale Baldoria, _Monumenti Artistici in San Gimignano_. Article in the _Archivio Storico dell' Arte_ for 1890. Rome, 1890.

Bernhard Berenson, _The Florentine Painters of the Renaissance_. Second Edition. New York, 1900.

Alfredo Tognetti, _Guida di San Gimignano_. Florence, 1899.

GENERAL INDEX

A.

Abati, Bocca degli, Florentine traitor at Montaperti, 15.

Accona, desert of, 315, 316.

Agazzari, Fra Filippo, author of the _Assempri_, 23, 305-311.

Agostino di Giovanni, architect and sculptor (died in 1350), 99, 278, 284, 285.

Agnolo di Tura ("Grasso"), chronicler, his description of the pestilence, 25, 26; quoted, 127.

Agnolo di Ventura, architect (died in 1348), 99, 278, 284.

_Aggregati, Monte degli_, 75.

Albany, Duke of (John Stuart), 210, 211.

Albertinelli, Mariotto, painter (1474-1515), 124.

Albizzeschi, Bernardino. See Bernardino.

Aldobrandeschi, Counts of Santa Fiora, 7, 14, 15.

Airoldi, Fra Domenico, Abbot of Monte Oliveto, 317, 318, 320.

Alexander III., Pope (Orlando Bandinelli), his pontificate, 5; consecrates the older Duomo, 6; frescoes depicting his life, 143, 144; honoured by modern Siena, 144; statue of in the Duomo, 160.

---- IV., Pope (Rinaldo Conti), unites the Augustinian hermits into one order, 305.

---- VI., Pope (Roderigo Borgia), threatens the liberty of Siena, 86; recalls Cesare, 89; dies, 90; patron of Pinturicchio, 171; portraits of, 174.

---- VII., Pope (Fabio Chigi), character of, 160.

Allegretti, Allegretto di Nanni, diarist, quoted 74, 75; describes the reconciliation of Noveschi and Popolani in the Duomo, 78, 79; quoted 129, 130, 157 (note); describes a festa in the Via del Capitano, 257; referred to, 267 (note); his account of the reducing the Monti to one and the presentation of the keys to the Madonna, 272-274.

Altoviti, Bartolommeo, Florentine captain in San Gimignano, 338.

Alviano, Bartolommeo, condottiere, 91.

Amerighi, Amerigo, plots the liberation of Siena, 224.

---- Marcantonio, ambassador to the Emperor, 219.

Andrea di Vanni, painter (end of Trecento), 107, 206, 207, 208 (note), 296.

Andrea Pisano (1270-1348), sculptor and architect, referred to, 99, 100.

Anguillara, Conte Virginio dell', papal condottiere, 212, 213; routed outside Porta Camollia, 214.

Ansanus, St, Apostle of Siena, 105, 139, 162, 179, 187, 261, 305.

Andrea Dei, 177.

Aragona, Alfonso da, Duke of Calabria (afterwards King of Naples), attempts to obtain the lordship of Siena, 74, 75; his victory at Poggio Imperiale, 138; referred to, 272, 314.

---- Eleonora da (afterwards Duchess of Ferrara), 254, 257.

Arbia, the, 17, 314.

Ardinghelli, family of the, lead the Guelfs of San Gimignano, 328, 329, 331; their factious conduct, 336, 337; feud with the Salvucci, 337, 338; get possession of San Gimignano, 338; forced to surrender to the Florentines, 339; urge complete submission to Florence, 340; their palace, 355.

---- Francesco degli, leads an attack upon San Gimignano, 337.

---- Primerano degli, attacks San Gimignano, 337; judicial murder of, 338, 352.

Ardinghelli, Rossellino degli, fined, 337; judicial murder of, 338, 352.

---- Scolaio degli, arbitrates between the clergy and people of San Gimignano, 352.

Aringhieri, Alberto, 156, 161, 212.

---- Luzio, executed, 212.

---- Niccolò, monument to, 283.

Arras, Count of, at Montaperti, 14, 15.

_Asinate_, 130, 131.

Athens, Duke of (Walter de Brienne), 24, 336, 337.

Avila, Don Franzese de, commands Spanish garrison in Siena, 225, 226.

Augustine, St., his legendary visit to Lecceto, 305; Gozzoli's frescoes concerning him, 358, 359.

B.

Baglioni, Andrea, his defence of Monticchiello, 228.

---- Giampaolo, his plot against Cesare Borgia, 86; allied with Pandolfo Petrucci, 87-90.

---- Oreste, condottiere, 93.

Balducci, Matteo, painter (early Cinquecento), 118, 119, 123, 175, 180, 293.

_Balìa, Collegio di_, institution of, 70; in the hands of the Popolani, 75; in those of the Noveschi, 79; nominally divided among the three Monti, 85; subservient to Pandolfo, 85; decrees his banishment, 88; recalls him, 89, 90; ruled by Raffaello, 94; the assassination of Giberto da Correggio by, 144-146; various changes in and measures of, 211, 213, 218; subservient to Don Diego, 219, 220; abolished, 227; appointed by Cosimo de' Medici, 244.

_Balzana_, legend of origin of the, 1, 2.

Bandinelli, Orlando. See Alexander III., Pope.

---- Sozzo, 30.

Bandini, Sallustio, father of Francesco and Mario, 283.

Bandini (Piccolomini), Francesco, Archbishop of Siena, 168; relations with Michelangelo, 170; sent to the Emperor, 219; escapes to Montalcino, 236, 239.

Bandini (Piccolomini), Mario, heads the rising against Fabio Petrucci, 98, 210; a leader of the Libertini, 210, 211; calls the people to arms against Alessandro Bichi, 211; captures the papal artillery at the Battle of Camollia, 214; heads the opposition to the Noveschi, 216; arrested by Ferrante Gonzaga, 217; rebukes the Bardotti, 217; alluded to, 219; leads the exodus to Montalcino, 242; maintains the form of the Sienese Republic at Montalcino, 244; and dies there, 244.

Bardotti, the, 217, 218.

Barbarossa. See Frederick I., Emperor.

Bargagli, Marino, conspirator, 70.

---- Scipione, novelist, 241, 252, 253, 254, 290, 291.

Barili, Antonio, sculptor (died 1516), 102, 103, 118, 147, 167, 281.

---- Giovanni, sculptor (died 1529), 102, 103, 167.

Barna, painter (died 1380), 107; his work at San Gimignano, 346.

Baroncetti, Conspiracy of the, in San Gimignano, 335, 336.

Bartolo, San (Buonpedoni) of San Gimignano, his life, 333; pictures of, 347, 350; his shrine, 356; at Cellole, 363.

Bartolo di Fredi, painter (died 1410), his works in Siena, 107; at San Gimignano, 345, 346, 357.

Bazzi, Giovanni Antonio ("Il Sodoma"), painter, (1477-1549), his life and work, 115, 116; his pictures in the Istituto di Belle Arti, 118, 120, 124; frescoes in the Palazzo de' Signori, 135, 139, 142, 143, 147, 148; Holy Family under the Spedale, 188; his work in San Domenico, 203, 204, 205, 206; other pictures and frescoes by him in Siena, 262, 265, 282; his frescoes at Monte Oliveto Maggiore, 317-320, 321, 322; works at San Gimignano, 343, 352, 354.

Beccafumi, Domenico (di Giacomo di Pace), painter and sculptor (1486-1550), 116; his life and character, 117; his pictures in the Istituto di Belle Arti, 119, 123, 124; frescoes in the Sala di Concistoro, 143; work on the pavement of the Duomo, 158, 159; other work in the Duomo and elsewhere, 167, 179, 248, 262, 282, 293.

Beccafumi, Lorenzo, one of the delegates from Siena to Cesare Borgia, 89; his patronage of Domenico, 117.

Belcaro, 302-304.

Bellanti, family of the, lead the Noveschi, 75, 76, 80; their conspiracy against Pandolfo Petrucci, 91; return to Siena, 94; alleged plot against Raffaello Petrucci, 97; excluded from the Government, 216.

---- Andrea di Naddino, converted by St. Catherine, 46.

---- Ghino di Pietro, treacherous citizen, 70, 112; his tavoletta, 270.

---- Giulio di Leonardo, his plot against Pandolfo, 91; is murdered by Francesco Petrucci, 97.

---- Guidone di Leonardo, put to death by Raffaello Petrucci, 97.

---- Leonardo, plots for the return of the Noveschi, 77; a leading spirit in the party, 80; begins to resent the Petruccian supremacy, 85; his letter to Bernardino Borghesi, 85, 86; intrigues against Pandolfo, 88; one of the Sienese delegates to Cesare Borgia, 89; plots against Pandolfo's life and is declared a rebel, 91; returns to Siena with Raffaello Petrucci, 94; is beheaded, 97.

---- Luzio, occupies Montereggioni for the Noveschi, 76; a leading spirit in the new regime, 80; routs the Riformatori and Popolani, 82; is deprived of the command of the mercenaries, 83; plots against the Noveschi and is banished, 83; his professed zeal for the liberty of his country, 85, 86; is murdered by Pandolfo, 85, 86, 92.

---- Petrino, 91.

Benincasa, Caterina. See Catherine, St.

---- Giacomo, 43, 45.

---- Lapa, 43, 57, 66.

---- Lisa (Colombini), 47.

Benvenuto di Giovanni, painter (1436-1518), 109, 119, 120; his designs for the pavement of the Duomo, 157, 158; other works by him, 188, 203.

Benedetti, Giovanni Maria, Sienese patriot, 224.

Benzi, family of the, 205.

---- Antonio, canon, 222 (note).

Bernardino, San (Albizzeschi), his life and work, 71, 73; portraits of, by Vecchietta and Sano di Pietro, 110, 113; his sermons to the Sienese, 128, 129, 132; pictures of, 139, 143, 144, 167; his work for the plague-stricken, 188; oratory to his honour, 285; founds the Osservanza, 298; contemporary portrait of, 300; his cell, 300.

Bernardino da Asti, Fra, preaches in the Piazza San Martino, 276.

Bernini, Giovanni Lorenzo, sculptor and architect (1598-1680), 154.

_Biccherna, Camarlingo e quattro Provveditori di_, 6, 9, 21, 27, 269, 270.

_Biccherna, Tavolette di_, 269-275.

Bichi, family of the, leaders of the Noveschi, 80, 216.

---- Alessandro, adheres to Fabio Petrucci, 98; becomes the head of the Noveschi, 210; attempts to make himself tyrant of Siena, 211; is assassinated by the Libertini, 211; his palace, 289.

---- Antonio, Sienese commissary to Montepulciano, 81, 83.

---- Antonio Maria, banished, 212.

---- Margherita. See Buonsignori.

Bigozzi, Niccolò dei, at Montaperti, 14.

Bindino da Travale, quoted, 24.

Boccaccio, Giovanni, 25, 131, 132, 324, 363, 364.

Bonizzelli, Giovanni Andrea, put to death, 226.

Bordone, Paris, Venetian painter, (cinquecento), 124.

Borghesi, family, leaders of the Noveschi, 75, 80, 216.

---- Bernardino di Niccolò, 85, 86.

---- Camillo. See Paul V., Pope.

---- Giovanni, 253.

---- Niccolò, organises the return of the Noveschi from exile, 76; his character, 80; ambassador from Siena to Charles VIII. of France, 81; leads the Noveschi against the Popolani and Riformatori, 82; Luzio Bellanti plots against him, 83; his murder and death, 85; Leonardo Bellanti's letter about, 85, 86; scene of his murder, 253; inscription on the Porta Romana ascribed to him, 281.

Borghesi, Pietro (the elder), 82.

---- Pietro (the younger), murdered, 216.

Borgia, Alfonso. See Calixtus III., Pope.

---- Cesare, his designs, 86; crushes the conspiracy at Sinigaglia, 86, 87; his enterprise against Siena, 87-89; is recalled by the Pope, 89; wins the Palio, 131 (note); letter of in the Archivio di Stato, 268.

---- Roderigo. See Alexander VI., Pope.

Botticelli, Sandro, painter, (1447-1510), 251, 354.

Brandano, hermit, 223; assails Don Diego, 224; mocks the Cardinal Ippolito, 228; discovers the Madonna of Provenzano, 283; supposed portrait of, 284.

Brescianino, Andrea (Piccinelli) del, painter, (early sixteenth century), 117, 123, 177, 251, 285.

Bruco, Compagnia del, insurrection of, 37-40.

Bruni, Leonardo, Florentine historian, 15, 16 (note).

Bulgarini, the, family of Noveschi, 216.

Buonaccorsi, Filippo (Callimaco), 343.

Buoninsegni, Bernardino, ambassador from Montalcino, 244.

Buonsignori, Annibale, 244.

---- Margherita, her visions acted upon by the Republic, 213.

C.

Cacciaconti, Aldobrandino di Guido, leads the people against the nobles, 8; is made Podestà, 9.

Caffarini, Fra Tommaso Nacci, friend and biographer of St. Catherine, 47, 205.

Calixtus III., Pope (Alfonso Borgia), allied with Siena, 70; idealised portrait of, by Sano di Pietro, 112; takes Siena under his protection, 112, 113; condones the assassination of Giberto da Corregio, 146, 147; in a fresco by Pinturicchio, 173, 174; his crusading zeal recorded in a Tavoletta di Gabella, 270, 271.

_Camarlingo._ See _Biccherna_ and _Gabella_.

Campana, General Council of the, 9, and _passim_.

Canigiani, Barduccio, disciple and secretary of St Catherine, 61, 62, 66, 292.

Camollia, Battle of, 213-215; referred to, 216, 221; in a Tavoletta di Gabella, 274; votive pictures of, in San Martino and San Giacomo di Salicotto, 276, 277.

Casolani, Alessandro, painter and architect, 124, 197.

Cassioli, Amos, painter, 125, 251.

Calabria, Duke of. See Alfonso and Charles.

---- Duchess of (Ippolita Maria Sforza), 129.

Caterina of Salicotto, the "two-handed sword," 93.

Catherine, Saint (Caterina Benincasa), her birth and childhood, 43; takes the Dominican habit, 43, 44; her early visions and mystical marriage, 44; her family life, 45; saves her brothers' lives, 45; her mystical change of heart and vision of the spirit world, 46; her active work in the city, 46, 47; her disciples, 47, 48; her account of the execution of Niccolò di Toldo, 48-50; becomes a political power, 50; reconciles the Salimbeni, 50; her letters and her philosophy of life, 51; letters to the Legate of Bologna and to Bernabò Visconti, 51; to Beatrice della Scala, 51, 52; on the corruption of the Church, 52; supports the proposed Crusade and attempts to rid Italy of the free companies, 52; at Pisa, 52, 53; intervenes in the war between Tuscany and the Pope, 54; her letters to Gregory XI., 54, 55; to the Signoria of Florence, 55, 56; at Florence and at Avignon, 56, 57; persuades the Pope to return to Rome, 57; at Genoa, 57; letters to Lapa, Giovanna Maconi and the Pope, 57, 58; her rupture with Gregory XI., 58, 59; her troubles, 59; at Florence for peace, 59; addresses Urban, 59; is assailed by the Ciompi, 60; letters to Frate Raimondo and her disciples at Siena, 60; her literary work, 61; her attitude towards Urban VI., 62; preaches to the Cardinals, 63; her passionate support of Urban against Clement, 63, 64; rebukes Frate Raimondo, 64; works with the Roman Republic, 64; last political letters, 64, 65; saves Urban from the people, 65; her vision of the _Navicella_, 65; last farewell to Raimondo, 66; her death, 66; Niccolò Borghesi's devotion to her, 85; pictures of her, 114, 118, 119, 120, 123, 139; canonisation of by Pius II., 174; her relations with the Disciplinati, 187; unhistorical historical picture of her, 188; site of her first vision, 189, 190; her "Oratorio in Fontebranda," 191; its history, 191, 192; statues of her by Urbano da Cortona and Neroccio, 192, 195; frescoed scenes of her life in her house, 195, 196; her cell and relics, 196; the two upper oratories in her house, 196, 197; the legend of the reception of the Stigmata, 197, 198; bust of her by Cozzarelli, 198; her festa in the Contrada, 198, 201; her shrine in San Domenico, 204, 205; her relics, 206; in the Cappella delle Volte, 206-208; her portrait by Andrea di Vanni, 206, 207; reflections on her mysticism, 209; heals a feud in San Cristofano, 289; her letters in the Biblioteca Comunale, 292; at Belcaro, 303; relations with the Augustinian hermits of Lecceto, 305, 308, 309; her praises sung by the papal choristers to the monks of Monte Oliveto, 323.

Ceccolini, Cerreto, 17, 251.

Cerretani, family of the, 37, 40.

---- Ildebrando, 89.

Cellino di Nese, sculptor (later Trecento), 99.

Charlemagne, alleged privileges granted by him to Siena, 2.

Charles I., King of Naples (Charles the Elder of Anjou), 18, 20, 331.

---- III., King of Naples (Charles of Durazzo), 65, 70.

---- IV., Roman Emperor (Charles of Luxemburg), 26; overturns the government of the Nine, 27, 28; negotiations with the Sienese, 30, 31; again at Siena, 32, 33; his defeat and humiliation, 33, 34, 37.

---- V., Roman Emperor and King of Spain, takes Siena under his protection, 211; sends Spanish governors and soldiers, 216; visits Siena, 218; his ministers and governors, 218, 219; intends to build a citadel, 220, 221; his reception of the Sienese ambassadors, 222; referred to, 226, 227, 232, 241; Siena capitulates to, 242; invests his son, Philip II., with Siena, 243.

---- VIII., King of France, 81, 82, 294, 295.

---- of Anjou, Duke of Calabria, 24.

Chigi, Fabio. See Alexander VII., Pope.

---- Sigismondo, 91.

Ciaccheri, Fra Matteo, chronicler of San Gimignano, 335, 336, 339, 340, 344, 353.

Cino, Cardinal Giovanni Battista. See Innocent VIII., Pope.

Cini, Giovanni di Lorenzo, painter (Cinquecento), 274, 276, 277.

Clement VII., Pope (Giulio de' Medici), aids Fabio Petrucci in his designs on Siena, 98; supports Alessandro Bichi, 210; takes up the cause of the Noveschi and declares war on Siena, 212, 213; his army routed, 214, 215.

Colle di Val d'Elsa, battle of, 19, 20.

Colombini, Beato Giovanni, 111.

Colonna, Giulio, condottiere of the Sienese, 214.

Correggio, Giberto da, his treachery, 70, 112; put to death by the Balìa, 144-146.

Cozzarelli, Giacomo, architect and sculptor (1453-1515), 102, 248, 262, 282, 299, 300.

----, Guidoccio, painter (1450-1516), 114, 119, 157, 274.

Coppi, G. A., chronicler of San Gimignano, 330.

D.

Dante, on the battle of Montaperti, 16; on Provenzano Salvani, 19, 131, 283; on the battle of Colle and Sapia, 20; other references of his to Sienese matters, 21, 22, 23; Boccaccio's account of him in the Campo, 131, 132; referred to, 139, 141, 149; the decorations and pavement of the Duomo illustrated from the _De Monarchia_ and the _Divina Commedia_, 154, 155, 156; referred to, 165, 177, 178; his story of La Pia, 258; his allusion to the Diana, 262 (and note); collection of documents illustrating his works, 268, 269; references to, 300, 305; his embassy to San Gimignano. 333, 334; his _Inferno_ contrasted with that of Taddeo di Bartolo, 346, 347; in the Council Chamber of San Gimignano, 352; references to, 355, 359.

Dodicini, the (Monte de' Dodici, Popolani of the Middle Number), obtain the chief authority in the Republic, 28; their administration, 28-30; their overthrow, 30, 31; make common cause with the Salimbeni, 31, 32, 33, 37; join in the massacre of the Costa d'Ovile, and attempt to capture the Palazzo, 39; are excluded from the government, 40; rise against the Riformatori, 41; share in the new regime, 67; are expelled again, 68; again readmitted to the government, 75; their factious conduct, 75, 86; their Monte united to that of the Gentiluomini, 79; take part with the Noveschi, 82; act of vandalism perpetrated by them, 127; included in the Monte del Popolo, 211; in that of the Gentiluomini, 216.

Diana, the, 262.

Diego. See Hurtado de Mendoza.

Domenico di Bartolo, painter (extant works dating from 1433 to 1443), 109; his picture in the Istituto di Belle Arti, 109, 110; his work on the pavement of the Duomo, 158; his frescoes in the Spedale, 185-187.

Domenico di Niccolò del Coro, sculptor (died about 1450), 102; his choir stalls in the Palazzo Pubblico, 142; his work on the pavement of the Duomo, 158.

Donatello (Donato di Niccolò di Betto Bardi), sculptor (1386-1466), 101; his works in the Duomo, 161, 162; a Madonna ascribed to him, 176; his work on the Font of the Baptistery, 181, 182.

Doria, Andrea, occupies Talamone, 212.

Duccio di Buoninsegna, painter (born before 1260, died after June 1313), 23; his work and period of activity, 103 (and note); his pictures in the Istituto di Belle Arti, 105; erroneous tradition that he designed the pavement of the Duomo, 154; referred to, 167; his famous Ancona now in the Opera del Duomo, 177-179; picture ascribed to him, 188; his house, 261; a work of his no longer in Siena, 301; referred to, 346.

Duprè, Giovanni, modern Sienese sculptor, 125, 265, 266.

Dominic, St, 201.

E.

Este, Ercole I. da, second Duke of Ferrara, 138, 254, 257.

---- Ercole II. da, fourth Duke of Ferrara, 242.

---- Ippolito II. da, Cardinal of Ferrara, governs Siena in the name of France, 227, 228, 232, 233, 257.

---- Eleonora d'Aragona da. See Aragona.

Eugenio, Sant', "Il Monastero," 301.

Eusebio di San Giorgio, painter, assistant of Pinturicchio, 174.

F.

Faggiuola, Uguccione della, his victory at Montecatini, 24, 335; Folgore's sonnet concerning him, 335.

Fantozzo, Giovanni Battista, leader of the republican plot against Alessandro Bichi, 211.

Farinata. See Uberti.

Fausta, Livia, praised by Montluc, 234.

Federighi, Antonio, architect and sculptor (died about 1480), 101; his work on the Chapel of the Campo, 135; on the pavement of the Duomo, 157, 158; other works of his in the Duomo, 159, 160, 161; a Moses ascribed to him, 176; a _graffito_ design of his for the Baptistery, 181; worked on the Oratory of St Catherine in Fontebranda, 192; on the Loggia di Mercanzia, 247; on the Palazzo delle Papesse, 252; built the Loggia del Papa, 275; his work at the chapel of the Palazzo dei Diavoli, 295.

Ferraccio, leader of the populace, 38.

Ferrante of Aragon, King of Naples, 74, 75.

Filippo, Fra. See Agazzari.

Fina, Santa (Fina de' Ciardi of San Gimignano), her life, 329, 330; her shrine in the Collegiata of San Gimignano, 348, 349; other pictures of her, 350, 353, 360; the Spedale in her honour, 360, 361.

Flete, William, Augustinian hermit, 305, 308.

Florence, wars of, with Siena, 6-9, 11-18, 20; alliance of, with Siena, 20; makes peace between the Sienese nobles and people, 37; stimulates opposition to the Riformatori, 41; leads the war of the Tuscan Republics against the Pope Gregory XI., 53-56, 59; wars with Siena concerning Montepulciano, 67; other wars with Siena, 74, 82, 83; aids the Petrucci, 89, 94, 98; supports Alessandro Bichi, 210, 211; renews hostilities with Siena in union with Clement VII., 212-215; the last war between her and Siena, 231-243; relations with San Gimignano, 327, 331, 333, 334, 336; her final subjugation of San Gimignano, 337-342; and _passim_.

Fogliani, Guidoriccio dei, Captain of War in Siena, 136, 137.

Folcacchieri, Folcacchiero dei, poet, 9.

Folgore da San Gimignano, poet, 22; his _corona_ of sonnets for the months of the year, 22, 23; his sonnet on a knight's vigil, 161; his _brigata_ of young nobles, 292, 293; his _corona_ of sonnets for the days of the week, 334, 335; sonnet on the Guelf defeat at Montecatini, 335.

Fonte, Fra Tommaso della, follower of St Catherine, 46, 47.

Forestani, Simone di Ser Dino, poet, 67, 68.

Forteguerri, family of the, 25, 27; their tower and palace, 252, 253.

---- Vittoria. See Piccolomini.

---- a lady of the family praised by Montluc, 234.

Fortini, Pietro, novelist, 115, 283, 293, 294 (and note).

Franchi, Alessandro, modern Sienese painter, 153, 159, 195.

Francis, St, his visit to Lecceto, 305; and _passim_.

Frederick I., Roman Emperor (Hohenstauffen), 5, 143, 144.

---- II., Roman Emperor (Hohenstauffen), 9.

---- III., Roman Emperor (Hapsburg), 72, 172, 173, 295.

Fungai, Bernardino, painter (1460-1516), 114; works by him in the Istituto di Belle Arti, 119, 120; and elsewhere in Siena, 188, 196, 197, 202, 274, 277, 294.

Fusina, Andrea, sculptor (latter part of the Quattrocento.), work on the Piccolomini altar of the Duomo, 169.

Francesco di Giorgio Martini, architect, sculptor and painter (1439-1502), 102, 109; pictures in the Istituto di Belle Arti, 114, 119; altarpiece by him in San Domenico, 202; Tavolette of Biccherna and Gabella ascribed to him, 271, 272; the Palazzo Bandini and the Madonna delle Nevi probably built by him, 283, 292; picture by him at Sant'Eugenio, 301.

G.

_Gabella, Camarlingo e Esecutori di_, 269.

----, _Tavolette e tavole di_, 269-275.

Gaddi, Taddeo, painter (circa 1300-1366), picture by him at Siena, 108.

Galgano, Abbazia di San, 313; palace in Siena that belonged to the monks of, 278.

Galganus, St (Galgano Guidotti), 105, 106, 313.

Gallerani, the Beato Andrea, 105.

Gano da Siena, sculptor (middle of fourteenth century), 134, 162.

Garcia de Toledo, imperialist general, 228, 231.

Genga, Girolamo, painter (1476-1551), 115; works by him in Siena. 118, 123, 176.

Gentiluomini, Monte dei, 7, 21; they temporarily recover possession of the State, 31; papal intervention on behalf of, 73; later share in government, 79, 216, and _passim_.

Ghiberti, Lorenzo, sculptor (1378-1455), 100, 101; quoted on Duccio, 103; on other Sienese painters, 104; his story of the Venus of Lysippus, 127; his praise of Simone Martini, 136; his bronze bas-reliefs on the Font of the Baptistery of Siena, 181, 182.

Ghirlandaio, Domenico, painter (1449-1494), his works in San Gimignano, 348, 349, 351.

Giacomo della Quercia. See Quercia.

Giacomo di Mino Pellicciaio, painter (died in 1396), 107, 108; designed the façade of the Baptistery, 176, 180; picture in the Servi, 277.

Giacomo di Castello, worker in stained glass, executes window for the Duomo, 167.

Giacomo Cozzarelli. See Cozzarelli.

Gilio di Pietro, painter (working in the middle of the thirteenth century), painted the portrait of Don Ugo on a Tavoletta di Biccherna, 270.

Giordano, Count, representative of King Manfred in Siena, 11; commands mercenaries at Montaperti, 13-16, 18; contrasted by Malavolti with Piero Strozzi, 232.

Giorgio di Giovanni, painter (working in the middle of the sixteenth century), tavolette ascribed to him, 275.

Giotto da Bondone, architect, sculptor and painter (circa 1276-1336) referred to, 110, 112; supposed design for his Campanile at Florence in the Sienese Opera del Duomo, 176; compared with Duccio, 177, 179; referred to, 278; his death of St Francis, 359.

Giovanna of Anjou, Queen of Naples, 52, 63, 64, 65.

Giovanni di Agostino, architect (son of Agostino di Giovanni), superintends building of the new Duomo, 150, 153.

---- di Niccolò Pisano, architect and sculptor (born circa 1250--died after 1328), chief architect of the Duomo, 99, 153; his tombstone, 153; one of the pupils of his father in the work of the pulpit, 162.

---- di Paolo, painter (died in 1482), 109; works by him in the Istituto di Belle Arti, 111; and elsewhere in Siena, 180, 251, 270, 296.

---- di Pietro, painter (painting in 1436), picture by him in the Servi, 278.

---- di Stefano, architect and sculptor (son of Sassetta, died after 1498), 102; work on pavement of Duomo, 155, 157; in the Chapel of the Baptist, 160, 161; bronze Angels by him, 167.

---- da Verona, Fra, sculptor (working at the beginning of the Cinquecento), his intarsia work in the Duomo, 167; works at Monte Oliveto Maggiore, 322, 323.

Girolamo di Benvenuto, painter (1470-1524), 114, 115; picture by him in the Istituto di Belle Arti, 120; in the house of St Catherine, 196; in Fontegiusta, 294.

---- da Cremona, painter and miniaturist (end of Quattrocento), 176.

---- Magagni, called Giomo, painter (pupil of Bazzi), 118.

Giunta Pisano, painter (working in the middle of the thirteenth century), miraculous Crucifix ascribed to him in the House of St Catherine, 197.

Gonzaga, Don Ferrante, 217.

---- Giovanni Francesco, Marquis of Mantua, 131 (note).

Gozzoli, Benozzo, painter (1420-1498), his works in the Collegiata of San Gimignano, 347, 349, 350; in Sant' Agostino there, 357-360; in Monte Oliveto, 362.

Gregorio da Siena, painter (early fourteenth century), 180.

Gregory the Great, Pope, his _Dialogues_, 317, 322.

---- XI., Pope (Pierre Roger de Beaufort), his relations with St Catherine, 51-57; return to Rome, 58; his rupture with St Catherine, 58; references to, 59, 188, 197, 206.

Guido da Siena, painter (latter part of the thirteenth century), his Madonna in the Palazzo Pubblico, 138.

_Giuoco delle Pugna_, 130, 131, 239.

Gori, Francesca, follower of St Catherine, 47, 62, 204.

Goro di Neroccio, sculptor (early Quattrocento) work in Baptistery, 182.

Guidoguerra, Count, 12.

Guido Novello, Count, 14, 19.

H.

Hawkwood, Sir John, condottiere, 29, 30, 40, 52.

Henry VII., Roman Emperor (Luxemburg), 24, 177, 314, 315, 334.

Hurtado de Mendoza, Diego, Spanish Governor of Siena, 219, 220.

I.

Illicini, Bernardo, novellist, 291 (note).

Innocent VIII., Pope (Giovanni Battista Cibo, Malfetta), 76, 273, 343.

J.

John XXII., Pope (Jacques d'Euse), 316.

Julius II., Pope (Giuliano della Rovere), 90, 92, 93.

Julius III., Pope (Giovanni Maria del Monte), 241, 251.

L.

Landi, Neroccio di Bartolommeo, sculptor and painter (1447-1500), 102, 109; pictures by in the Istituto di Belle Arti, 114; his Hellespontine Sibyl, 157; other works by him in the Duomo, 160, 161; statue of St Catherine in the oratory of Fontebranda, 192, 195; his pictures in the Palazzo Saracini, 251; other works in Siena ascribed to him, 272, 278, 293.

Lando, Pietro di, architect (working in 1339), superintends the building of the new Duomo, 150, 153.

Lanzi, Padre quoted, 103.

Landucci, Ambrogio, historian of Lecceto, 305, 306, 311.

Lecceto, the Hermitage of San Salvatore di, 304-312.

Leonardo al Lago, San, church and ruined hermitage, 312-313.

Leo X., Pope (Giovanni de' Medici), 94, 97.

Libertini, the, 210, 211, 214, 215.

Lippi, Filippino, painter (1457-1504), his Annunciation at San Gimignano, 354.

Lippo, Memmi, painter (died about 1356), 104; pictures in his manner in the Istituto di Belle Arti in Siena, 106; designs upper part of the Torre del Mangia, 135; his Madonna del Popolo in the Servi, 278; his fresco in the Sala del Consiglio of San Gimignano, 352, 353; remains of a fresco by him in Sant' Agostino at San Gimignano, 357; works of his school in other churches there, 360, 362.

Lippo di Vanni, painter (later Trecento), 107; fresco by him in the Palazzo Pubblico, 137, 138.

Lorenzetti, Ambrogio, painter (working in 1323, died in 1348), 23; is Siena's greatest master, 104; his works in the Istituto di Belle Arti, 106, 107; his frescoes in the Sala dei Nove, 139-141; other works by him, 147, 179, 270; frescoes by him in the Servi, 277, 278; works in San Francesco, 285; a Madonna by him in Sant' Eugenio, 301; frescoes of his school in Lecceto and San Leonardo, 309, 310, 313.

---- Pietro, painter (working between 1305 and 1348), 104; pictures by him in the Istituto di Belle Arti, 106, 107; his works in the Opera del Duomo, 179; frescoes attributed to him in the Servi and in San Francesco, 277, 284; picture in San Pietro Ovile, 286.

Lorenzo di Mariano. See Marrina.

---- di Pietro. See Vecchietta.

Luca di Tommè, painter (died in 1381), 107, 108.

Lucari, Buonaguida, Dictator before Montaperti, 13, 14.

Luca di Bartolo, architect (middle of Quattrocento), 252.

Luna, Don Juan de, Spanish Governor of Siena, 218.

_Lupa_, legend of origin of the, 1.

Luti, Lodovico, Sienese exile, 82; murdered by Pandolfo Petrucci, 85.

M.

Machiavelli, Niccolò, on the Noveschi, 80; on Pandolfo's rise to power, 80, 81; on Florentine interference in Sienese factions, 83; on Antonio da Venafro, 85; his account of Cesare Borgia's attempt upon Siena, 86-88; his legation to Siena, 91; his appreciation of Pandolfo, 93; his correspondence with Francesco Vettori, 215 (and note); at the Palazzo del Magnifico, 248.

Maconi, Corrado, 289.

---- Giovanna, letter of St Catherine to, 57.

---- Lano, killed at Pieve del Toppo, 21.

---- Stefano di Corrado, disciple of St Catherine, 48, 57, 59, 61, 62, 66, 187, 289.

Maiano, Benedetto da, sculptor (1442-1497), his Ciborium in San Domenico at Siena, 202; his shrine of Santa Fina, 348, 349; other work in the Collegiata of San Gimignano, 351; his shrine of San Bartolo, 356.

---- Giuliano da, architect and sculptor (1432-1490), probably built the Rifugio and the Palazzo Spannocchi at Siena, 278, 290; altered the Collegiata of San Gimignano, 345; designed the chapel of Santa Fina, 348.

Mainardi, Sebastiano, painter (died in 1513), portrait ascribed to him in the Palazzo Saracini, 251; native of San Gimignano, 342; his works there, 349, 351, 353, 356, 357, 362.

Maitani, Lorenzo, architect and sculptor (died in 1330), the presiding genius of the Duomo of Orvieto, 99; his proposal to the General Council for a new Duomo in Siena, 149, 150.

Malatesta, Malatesta dei, imperial vicar in Siena, 31-34, 37.

Malavolti, family of the, 2, 5, 25, 37, 40, 68; the Poggio de', 292.

---- Filippo, leads Sienese crusaders, 5; holds office of Podestà, 6.

---- Francesco, disciple of St Catherine, 47, 48.

---- Girolamo, at Belcaro, 304.

---- Maghinardo, podestà of San Gimignano, 327.

---- Orlando, opposes the Duke of Milan, 68; is murdered, 68, 69.

---- Orlando, historian of Siena, quoted or referred to, 18, 32, 33, 73, 232; his embassy to Charles V., 220, 222; his opposition to Piero Strozzi, 232.

Malena, the, 17.

Malfetta, Cardinal. See Innocent VIII., Pope.

Mariano da Genazzano, Fra, 129, 130, 273.

Manfred, King of Sicily and Apulia, 10, 11, 13, 18, 19.

Manfredi da Sassuolo, podestà, leads the nobles against the people, 8.

Marcellus II., Pope (Marcello Cervini), 159.

Marrina (Lorenzo di Mariano), sculptor (died in 1534), 102; his chief works in Siena, 160, 247, 268, 276, 294.

Manetti, Rutilio, painter (1572-1639), 124, 125, 258, 266, 282, 292.

Martini. See Simone and Francesco di Giorgio.

Martinozzi, Giovanni, a leader of the Noveschi, joins rising against Fabio Petrucci, 98, 210; exiled, 212; in the papal camp before Siena, 213; harries the Valdichiana, 215; returns to Siena and is killed, 216.

Matteino di Ventura Menzani, Captain of the People, leads the Sienese against Charles IV., 33, 34.

Matteo di Giovanni, painter (1435-1495), 109; pictures in the Istituto di Belle Arti, 114, 119; in the Palazzo Pubblico, 142, 143; work for Pavement of Duomo, 157, 158; other pictures by him in Siena, 179, 265, 277, 292; in the National Gallery of London, 301; at Belcaro, 304; at Buonconvento, 314.

Marignano, Marchese di. See Medici, Gian Giacomo.

Matilda, Countess, 2.

Marciano, Battle of, 235.

Medici, Cosimo de', Duke of Florence (afterwards Grand Duke of Tuscany), 132, 222, 225, 226, 228, 231, 232, 242-245, 275, 363.

---- Galeotto de', 98.

---- Gian Giacomo, Marchese di Marignano, conducts the last war against Siena, 232, 233, 235, 240, 241, 242; enters the city, 243.

---- Giovanni. See Leo X., Pope, at Belcaro, 304.

---- Giulio. See Clement VII., Pope.

---- Lorenzo, the elder, 74.

---- Lorenzo, the younger, 97, 248.

---- Pietro, 81, 82.

Memmi. See Lippo.

Mendoza. See Hurtado.

Michelangelo Buonarroti, architect, sculptor and painter (1475-1564), his work for the Piccolomini, 169, 170; his letters to his nephew on the subject, 170; Bandini monument ascribed to him, 170.

Milanesi, Gaetano, 141, 179.

Minuccio and Francesco di Rinaldo, architects of Perugia, build the Torre del Mangia, 132, 135.

Montalcinello, Sienese defeat at, 30.

Montalcino, quarrels between Siena and Florence concerning, 7, 10, 11, 12; humiliation of, 18; unsuccessfully attacked by papal forces, 213; besieged by the imperialists, 228, 231; last refuge of the Republic, 244; capitulates, 244; tavolette concerning, 275; view of, from Monte Oliveto, 315.

Montaperti, Battle of, 14-17.

Montemassi, 11, 12, 137.

Montepulciano, quarrels between Siena and Florence concerning, 7, 11, 12; given to Siena by Manfred, 18; revolts after the fall of the Nine, 29; returns to Siena, 29; lost again, 67; returns to Siena, 81, 82; restored to Florence by Pandolfo, 89, 92; St Catherine at, 195.

Monte Oliveto Maggiore, 314-323.

Montereggioni, 11, 76, 213.

Montfort, Guy de, Vicar of Charles of Anjou, 20, 331.

Montluc, Blaise de, Marechal of France, takes command in Siena, 233; his heroic defence of the Republic and his Commentaries, 234, 235, 236, 239, 240, 242.

Monticchiello, heroic defence of, 228.

_Monti_, the meaning of the term, 21, 32, 33. See Dodicini, Gentiluomini, Aggregati, Noveschi, Nobili Reggenti, Popolo, Riformatori.

Morelli, Giovanni, 115, 123.

Moro, Cristoforo, Doge of Venice, 174, 175.

N.

Naddo di Francesco, Captain of the People, attempts to suppress a rising, 38; plots, and is executed, 39.

Neroccio. See Landi.

Neroni. See Riccio.

Niccolò Pisano, architect and sculptor (circa 1206-1278), his coming to Siena marks an epoch, 99; influence of his style upon Giacomo della Quercia, 100; his pulpit in the Duomo, 162-166.

Neri di Donato, chronicler, 34.

Nine. See Nove.

_Nobili Reggenti, Monte dei_, 210, 211.

Nove, Magistracy of the, 21; their rule, 23-25; their fall, 26-28; their Sala, 139-141.

Noveschi, the (Monte dei Nove), their beginning, 21, 32, 33, 37, 38, 39, 41; share in the government, 67, 69; struggle with the democratic orders, 75; expelled from Siena, 76; their return, 77, 78; their prepotency in the State, 78-80, 85; are divided among themselves, 98, 210; renewed struggle with the democratic orders, 211, 213, 215; are deprived of all share in the government, 216; obtain a fourth part, 216; favoured by the imperial agents in Siena, 218, 219, 220; allegory of their return, 274.

O.

Oriuoli, Pietro di Francesco degli, painter (died in 1496), fresco by him in the Baptistery, 183 (and note).

Osservanza, the, 298-301.

P.

Pacchia, Girolamo del, painter (1477-1535), 116; his pictures in the Istituto di Belle Arti, 118, 120, 123; his frescoes in the House of St Catherine, 195; in the oratory of San Bernardino, 285, 286; altarpiece in San Cristofano, 289.

Pacchiarotti, Giacomo, painter (1474-1540), 115; pictures by, 119, 120, 262; his political escapade, 217, 218.

Pagliaresi, Neri di Landoccio, disciple and secretary of St Catherine, 47, 56, 57, 195, 306.

Palio, the, 130, 131.

Pannocchieschi, Nello dei, 258.

---- Pagano dei, Bishop of Volterra, 328.

---- Ranieri dei, Bishop of Volterra, 329, 349, 365.

Paolino da Pistoia, Fra, painter (1490-1547), fresco in Santo Spirito, 282; pictures at San Gimignano, 354, 362, 363.

Paolo di Giovanni, painter (latter part of Trecento), 107, 108.

---- di Maestro Neri, painter (active between 1343 and 1382), his frescoes at Lecceto, 309, 310.

---- di Martino, sculptor (early Quattrocento), 158.

Parri di Spinello, painter, 143.

Pastorini, Pastorino, master in stained-glass, 159.

Patrizi, Patrizio, companion of Bernardo Tolomei, 316.

Paul IV., Pope (Giovanni Pietro Caraffa), 243.

Pavement of the Duomo, 154-159.

Pecci, family of the, Noveschi, 75.

---- Giovanni Antonio, historian, 94, 213.

---- Giovanni, canon, 214.

---- Guido, represents Pandolfo Petrucci at La Magione, 86.

---- Tommaso, his palace, 254, 257.

Pellari, Guelf family in San Gimignano, 331, 333.

Pecori, Luigi, historian of San Gimignano, 326, 333, 341, 355.

Perugino, Pietro Vannucci, painter (1446-1523), 115; his picture in Sant' Agostino at Siena, 265.

Peruzzi, Baldassare, architect and painter (1481-1536), 116, 117; an early work of his in the Istituto di Belle Arti, 118, 119; his porticato for the Campo, 126; early frescoes in the Duomo, 161, 162; designs the high altar, 167; other works ascribed to him, 177, 196, 262; his praise of Beccafumi, 262; designed the façade of Santo Spirito, 281; his Sibyl in the Madonna of Fontegiusta, 294; his later work at Belcaro, 303.

Petroni, Lodovico, member of the Balìa, 145.

---- Riccardo, Cardinal and decretalist, 162.

Petronilla, Santa, skirmish at, 11.

Pelori, Giovanni Battista, architect, 223.

Petrucci, family of the, leaders of the Noveschi, 75; are exiled, 76; return, 77, 78, 80; excluded from the government, 216.

---- Agnolo, murdered by the people, 76.

---- Alfonso di Pandolfo, receives the Cardinal's hat, 92; at the court of Leo X., 94; execution of, 97.

---- Antonio, plots against the State, 70.

---- Antonio Maria, 257.

---- Aurelia (Borghesi), wife to Pandolfo, 80.

---- Bartolommeo, heads a rising, 218.

---- Borghese di Pandolfo, marries Vittoria Piccolomini, 92; succeeds to his father's despotism, 93; his character, 93, 94; flies from Siena and is declared a rebel, 94; goes mad, 98; entertains the younger Lorenzo de' Medici, 248.

Petrucci, Celia, 300.

---- Eustacchio, 98.

---- Fabio di Pandolfo, flies from Siena and is declared a rebel, 94; re-enters Siena with papal aid, 98; his tyranny and expulsion, 98; made governor of Spoleto, 216.

---- Francesco di Camillo, murders Giulio Bellanti, 97; makes himself master of Siena, 98; murders Marcello Saracini and is summoned to Rome, 98; threatens Massa, 215; restored to Siena, 216; leads a tumult of the Noveschi, 216; is declared a rebel, 218.

---- Giacoppo, 80, 81, 83; his palace, 257.

---- Lattanzio, 97, 212.

---- PANDOLFO, leads the Noveschi, 75; returns from exile, 77, 78, 80; is given the command of the mercenaries, 80, 81; knighted by the King of France, 81; makes himself master of Siena, 82, 83; his policy, 84; his murder of Niccolò Borghesi, 85, 86; attitude towards France and the Borgia, 86; represented at La Magione, 86; assailed by Cesare Borgia, 87, 88; his exile decreed, 88; leaves Siena, 89; supported by France and Florence, 89; re-enters Siena in triumph, 90; his despotism and treacherous policy, 90, 91; conspiracy of the Bellanti against him, 91; character of the last years of his rule, 92, 93; his death, 93; his project for a porticato to the Campo, 126, 177; his palace, 248; site of his murder of Niccolò Borghesi, 253; benefactor of Santo Spirito, 281; of the Osservanza, 298, 299; his tomb, 300.

---- Raffaello di Giacoppo, occupies Siena with papal aid, 94; alliance with the Medici and the Pope, 94, 95; butchers the Bellanti, 97; is made a Cardinal, 97; tumult at his burial, 97, 98; his palace, 257.

Pettignano, Beato Piero, 21, 22.

Philip II., King of Spain, 242; is invested with Siena as a vacant fief of the Empire, 243; cedes it to Cosimo de' Medici, 243.

Pia, La, Sienese lady recorded by Dante, 258.

Piccinino, Jacopo, his war upon Siena, 70, 112, 144, 145, 270, 271.

Piccinelli. See Brescianino.

Piccolomini, family of the, 2, 5, 25, 27, 37, 40, 72, 73, 168; palaces of, 251, 252, 253, 254.

---- Alessandro, bishop and man of letters, 168.

---- Alfonso d'Aragona, Duke of Amalfi, 216, 218.

---- Beato Ambrogio, 316.

---- Andrea (di Nanni Todeschini), received into the Monte del Popolo, 73; submits to the regime of the Noveschi, 78; intervenes between the rival factions, 82; one of the delegates from Siena to Cesare Borgia, 89; goes into exile, 90; his daughter married to Borghese Petrucci, 92; one of the heirs and executors of Pius III., his brother, 169; his palace, 267.

---- Antonio, Archbishop of Siena, 168.

---- Antonio (di Nanni Todeschini), Duke of Amalfi, 73.

---- Ascanio (di Enea delle Papesse), Archbishop of Siena, 168; his palace, 252; referred to, 265.

---- Caterina, sister of Pius II., wife of Bartolommeo Guglielmi, builds the Palazzo delle Papesse, 251, 252 (and note).

---- Enea delle Papesse, delivers Siena from the Spaniards, 225; escapes during the siege, 239; dies at Montalcino, 244.

---- ENEA SILVIO. See Pius II., Pope.

---- Francesco (di Nanni Todeschini). See Pius III., Pope.

---- Giacomo (di Nanni Todeschini), received into the Monte del Popolo, 73; heir and executor of Pope Pius III., 169; his palace, 267.

---- Giacomo di Anton Maria, refuses to marry the daughter of Don Juan, 218.

Piccolomini, Giovanni di Andrea, Cardinal Archbishop, 168.

---- Giovanni Battista, leads the rising against Fabio Petrucci, 98, 210.

---- Girolamo, Bishop of Pienza, 281.

---- Guido di Carlo, Senator of Rome, 175.

---- Laodomia, sister of Pius II. and wife to Nanni Todeschini, 73.

---- Piero, 30.

---- Silvio, father of Pius II., 284.

---- Tommaso, Bishop of Pienza, 160.

---- Vittoria Forteguerri, mother of Pius II., 284.

---- Vittoria di Andrea, wife of Borghese Petrucci, 92.

---- lady of the family of, praised by Montluc, 234.

---- See Bandini.

Pier Francesco Fiorentino, painter (latter part of Quattrocento), his works in Siena, 110, 111; in San Gimignano, 348, 351, 353, 354, 356, 362.

Pietro di Domenico, painter, (1457-1501), 114, 293.

Pietro di Lando, architect (still working in 1339), superintends the building of the new Duomo, 150, 153.

Pini, Giovanni Maria, leads the Sienese at the Battle of Camollia, 214; heads a tumult of Noveschi, 216.

Pinturicchio Bernardino, painter (1454-1513), 115, 118; picture by, in the Istituto di Belle Arti in Siena, 124; his Story of Fortune, 156; his frescoes in the Chapel of the Baptist, 161; his frescoes in the Library of the Duomo, 170-175; remains of works in the Palazzo del Magnifico, 248; his Assumption at San Gimignano, 354.

Pisano. See Giovanni, Giunta, and Niccolò.

Pitigliano, Count Lodovico of, 212.

Pietro del Minella, architect and sculptor (1391-1458), 101; work on pavement of Duomo, 158; on the font of the Baptistery, 182.

Pius II., Pope, (Enea Silvio Piccolomini), his early life, 71, 72; Bishop of Siena, 72; elected Pope, 72; attempts to force the Sienese to admit nobles into the administration, 73; his benefits to Siena, 73; creates Pienza, 74; his letter to the Balìa about Calixtus III., 112, 113; gives relics to the Duomo, 160; statue of, 162; Bishop of Siena and raises the See to an Archbishopric, 168; his nephew's devotion to, 168, 170; ten scenes from his life frescoed by Pinturicchio, 171-175; his account of the meeting of Frederick and Leonora, 173; his enthusiasm for the Eastern Question and canonisation of St Catherine, 174; his death, 174, 175; his episcopal ring, 180; referred to, 197; statue of, 265; Tavolette of Biccherna and Gabella concerning him, 271; raises a monument to his parents in the church, and stays in the convent of San Francesco, 284; his reception at the Porta Camollia, 294; visits Lecceto, 312; his visit to Monte Oliveto, 323.

Pius III., Pope (Francesco Todeschini Piccolomini), received into the Monte del Popolo, 73; mediates between the People and the Noveschi, 75; his pacific influence, 77; accepts the new regime of the Noveschi, 78; presides at a solemn reconciliation in the Duomo, 78, 79; his short papacy, 90; referred to as Cardinal, 129, 130; statue of in the Duomo, 162; Archbishop, 168; orders the altar of the Piccolomini and his own tomb, 168; his character, 168; his elevation to the papacy, attempt to reform the Church and untimely death, 169; builds the library of the Duomo, 170; fresco representing his coronation, 170, 171; his contract with Pinturicchio, 171, 175; a Tavoletta di Gabella concerning him, 271.

Placidi, family of the, Noveschi, 216.

Placidi, Aldello, 213.

---- Neri, 76, 83.

Poccetti, Bernardo, painter (1542-1612), 124, 343, 356.

Pochintesta da Bagnacavallo, condottiere, 90, 94, 97.

Podestà, institution of the office in Siena, 5, 6, 9, 10; institution of the office in San Gimignano, 326, 327; method of his election in latter town, 332, 333.

Poggibonsi, destruction of the Castello of, 331.

Poggio Imperiale, battle of, 74, 138.

Pomarelli, architect, 177.

Ponsi, Girolamo di Domenico, architect, 188.

Pollaiuolo, Pietro, painter (1443-1496), his altarpiece at San Gimignano, 350.

Popolani (in the special sense of members of the Monte del Popolo), 67, 73, 75, 78, 79, and _passim_.

Popolo, Monte del, institution of, 67; supports the Milanese suzerainty, 68; has a third of the Signoria, 69; the Todeschini received into, 73; supports the Duke of Calabria, 74; gets control of the State, 75, 76; ousted by the Noveschi, 78; has still nominally a third part of the government, 79; annulled with the other Monti, 210; restored, 211.

Possa, El (Domenico di Michele), 138.

Provenzano Salvani. See Salvani.

---- Madonna di, 283, 284.

Provveditori. See Biccherna.

_Pugna_, _Giuoco delle_. See _Giuoco_.

Q.

Quercia, Giacomo della, sculptor (1371 or 1374-1438), his life and work, 100, 101; his Fonte Gaia, 127; sculptures of his school, 143, 161; remains of his reliefs from the Fonte Gaia, 176; his work on the Font of the Baptistery, 181, 182.

---- Priamo della, painter (brother of Giacomo), his fresco in the Spedale, 186.

R.

Raimondo, Beato. See Vigne.

Ramo di Paganello, sculptor (working during the last twenty years of the Trecento), 99; his St Francis, 284.

Raphael, 171, 174, 175.

Riformatori, origin of the Monte de', 32, 33; their rule, 40; their downfall, 41, 42; instance of their oppressive administration, 48; partially readmitted to the government, 69, 70; their Monte suppressed, 74; struggle with the Noveschi, 75, 76; are distributed among the three Monti, 79; rise against the Noveschi, 82; their Monte is restored, 216.

Rinaldini, family of the, 48, 289.

Riccio (Bartolommeo Neroni), architect and painter (middle of Cinquecento), 117, 123, 166, 167, 219 (note), 262, 300, 320.

Rinaldo, Minuccio and Francesco di, architects, 135.

Robbia, Ambrogio della (early Cinquecento), sculptor, work in Santo Spirito, 282.

---- Andrea della (1435-1525), sculptor, altarpiece in the Osservanza, 300.

Robert of Geneva, Cardinal Archbishop of Cambrai, commands the papal army, 54; his sack of Cesena, 58; elected pope, or antipope, as Clement VII., 62; supported by Giovanna of Naples, 63; St Catherine's description of his character, 63, 64.

Robert of Anjou, King of Naples, 289.

Rustici, Francesco (Rustichino), painter (died in 1626), 124, 162, 283.

Rosselli, Matteo, painter (1578-1650), picture at San Gimignano, 360.

Rossellino, Bernardino, sculptor and architect (1409-1464), probably designed the Palazzo delle Papesse, 252.

S.

Sacchini, Enea, 214.

Salimbeni, family of the, 2, 5; their feud with the Tolomei, 24, 25; their turbulent conduct, 30, 31, 32, 33; in arms for the Emperor, 33, 34; are factious against the burghers, 37; plot to seize Siena, 39; are expelled, 40; their friendship with St Catherine, 50, 59; lead rising against the Milanese supremacy, 68; their palace, 290; love stories connected with them, 290, 291.

Salimbeni, Agnolino di Giovanni, friend of St Catherine, 50.

---- Arcangiolo, painter (latter part of Cinquecento), 124, 197, 202, 262.

---- Anselmo, hero of a _novella_, 290, 291.

---- Cangenova, 291.

---- Cione, 50.

---- Francesco, 68.

---- Giovanni di Agnolino, ambassador to the Emperor, 27; counsels moderation, 27, 28; is Podestà of Montepulciano, 29; accidentally killed, 30.

---- Reame, 32, 291.

---- Niccolò, 32, 33.

---- Salimbene, 13.

---- Ventura di Arcangiolo, painter (end of sixteenth century), 124, 167.

Salvani, Provenzano, ambassador to Manfred, 11; influential in the Republic, 11, 12, 13; Podestà of Montepulciano, 18; the ruling spirit in Siena, 19; his act of humility, 19; is killed at Colle, 20; referred to, 131, 283.

Salvetti, family of Noveschi, 80.

---- Paolo, 81.

Salvi, Giulio, beheaded for treason, 231.

---- Ottaviano, Proposto, beheaded, 231.

Salvini, Luca, 226.

Salvucci, family of the, factious in San Gimignano, 328, 329, 333, 337-339, 340, 345.

SAN GIMIGNANO, its appearance, 324, 325; its origin, 325, 326; early history of, 326, 327; wars with Volterra, 328; factions and change of government, 328, 329; Santa Fina of, 329, 330; follows the fortunes of the Guelfs, 331; its golden age, 332; San Bartolo and Dante at, 333, 334; its wars with Volterra and hostility to Henry VII., 334; its poet, 334, 335; the conspiracy of the Baroncetti, 335, 336; trouble with Florence, 336; first submission to Florence, 337; the factious of the Ardinghelli and Salvucci, 337-339; appeal of its poetic chronicler, 339; final submission to Florence, 340-342; under Florentine rule, 342; its painters and famous men, 342, 343; its walls and towers, 344; the Collegiata or Pieve, 345-351; the Palazzo Comunale, 351-354; other palaces and towers, 354, 355; Sant' Agostino of San Gimignano, 356-360; San Pietro and Santa Chiara, 360; the Spedale di Santa Fina, 360, 361; San Girolamo and San Jacopo, 361; the Porta della Fonte, 361; other churches and buildings, 362, 363; Cellole, 363; the Rocca di Montestaffoli, 363, 364; a day of festa at the Town of the Beautiful Towers, 364, 365.

Sano di Matteo, sculptor and architect (working from 1392 to 1434), designed the Loggia di Mercanzia, 247.

---- di Pietro, painter (1406-1481), 109; his pictures in the Istituto di Belle Arti, 111, 113; frescoes in the Palazzo Pubblico, 139, 147; other works by him in Siena, 251, 258, 271, 293; his pictures in the Osservanza, 299, 300.

Sansedoni, Frate Ambrogio, 305.

Saracini, family of the, 2, 37; lead rising against the Riformatori, 41; take part in riot in the Campo, 130; their palace, 248-251.

---- Alessia, associate of St Catherine, 47, 62, 66, 204.

---- Ippolito, hero of a _novella_, 291.

---- Marcello, murdered, 98.

---- Piero di Duccio, podestà of San Gimignano, 336.

---- Sapia, the Dantesque legend of, 20, 22.

Savini, Nanni, gives Belcaro to St Catherine, 303.

Saviozzo. See Forestani.

Savonarola, Fra Girolamo, reforms the convent of Santo Spirito at Siena, 268, 281; his preaching at San Gimignano, 350, 351, 362.

Scotti, family of the, 41, 130.

Senius, legendary founder of Siena, 1, 2.

Sermini, Gentile, novelist, 291.

Schiatte Maggiori, the, 2, 31.

Sigismund, Roman Emperor (Luxemburg), 71, 72, 158, 270.

Signorelli, Luca, painter (1441-1523), 115, 118, 119, 202, 248; his frescoes at Monte Oliveto Maggiore, 317, 320, 321.

Segna di Tura, painter (working in the early years of the Trecento), 103, 104, 105.

Sfondrato, Francesco, 218, 274.

SIENA. Accademia di Belle Arti. See Istituto. S. Agostino, 265, 266. Archivio di Stato, 268. S. Barbara, 295. Baptistery. See San Giovanni di Siena. S. Bernardino, 285, 286. Biblioteca Comunale, 291, 292. Campansi, 293. Campo, 126-132. Carmine, 261, 262. Casato, 266. Casino de Nobili. See Loggia di Mercanzia. S. Caterina (House and Oratories of), 191-198. Castello Vecchio, 248, 258, 261. Cimitero della Misericordia, 266, 317. Consuma, Casa della, 292, 293. S. Cristofano, 289. Croce del Travaglio, 246. Duomo, 149-170. S. Domenico, 201-208. Fontebranda, 190. Fonte Gaia, 126, 127. Fontegiusta, 293, 294. Fonte Nuova, 292. S. Francesco, 284, 285. S. Giacomo in Salicotto, 276. S. Giorgio, 282. S. Giovanni di Siena, 180-183. S. Giovanni in Pantaneto, 282. S. Girolamo, 277. Istituto delle Belle Arti, 103-124. ---- dei Sordo-muti, 261. Libreria del Duomo, 170-176. Loggia di Mercanzia, 247. Loggia del Papa, 275, 276. S. Maria degli Angioli, 281. S. Maria Assunta, 149-170. S. Maria delle Nevi, 292. S. Maria di Provenzano (of the Visitation), 283, 284. S. Maria dei Servi (of the Conception), 277, 278. S. Martino, 276. Mercato, 148. Opera del Duomo, 176-180. Palazzo Bichi, 289. ---- Buonsignori, 257. ---- Chigi, 254. ---- Fortegueri, 252. ---- Petrucci, 248. ---- Piccolomini dei Papeschi (del Governo), 267-275. ---- Piccolomini delle Papesse, 251, 252. ---- Marsili, 252. ---- Pecci (del Capitano), 254, 257. ---- Pubblico (Comunale, or de' Signori), 132-148. ---- Reale, 257. ---- del Rifugio, 278. ---- Salimbeni, 290, 291. ---- Saracini (Marescotti), 248-251. ---- Spannocchi, 290. ---- Tolomei, 289. ---- Turchi (de Diavoli), 295. ---- Ugurghieri, 266. Vecchio del, 290. S. Pietro Ovile, 286. S. Pietro alle Scale, 258. Porrione, 266. Porta Fontebranda, 302. ---- Camollia, 294, 295. ---- S. Marco, 262. ---- Ovile, 240, 292. ---- Pispini, 281. ---- Romana, 278, 281. ---- Salaia, 247. ---- Tufi, 266. Postierla, Piazza, 253, 254. Pozzo della Diana, 262. Salicotto, 276. S. Quirico, 261. S. Sebastiano in Valle Piatta (degli Innocenti), 188. ---- in Camollia, 293. S. Spirito, 281, 282. Stalloreggi, 258, 261. Torre di S. Ansano, 261. ---- de' Forteguerri, 252. ---- del Mangia, 132, 135. ---- Miganelli, 289.

Sixtus IV., Pope (Francesco della Rovere), 74, 272.

Simone Martini, painter (circa 1285-1344), his style, 104; his frescoes in the Palazzo de Signori, 135-137;

picture by him in Sant'Agostino, 265, 266; imitation of his manner, 286.

Sorri, Pietro, painter (1556-1622), 124, 168, 197.

Sozzini, Alessandro, diarist of the siege, 218, 219, 222, 224, 225, 226, 227, 228, 232, 234, 235, 236, 239, 241.

---- Bartolommeo instrumental in the return of the Noveschi, 78; Captain of the People, moves to reduce the four Monti to one, 272.

---- Fausto, 282.

---- Lelio, 282.

---- Ottavio, 226.

Spannocchi, Ambrogio, 290.

---- Fabio, 242.

Spinello Aretino, painter (1333-1410), pictures in the Istituto di Belle Arti, 108; frescoes in the Sala di Balìa, 143, 144.

Stefano di Giovanni, "Sassetta," painter (died in 1450), 109, 110, 300.

Strozzi, Benedetto di Giovanni, his judicial murder of the Ardinghelli, 338.

Strozzi, Piero, vicar-general of France in Siena, 232, 233; his defeat at Marciano, 235, 236, 239, 240, 301.

T.

Taddeo di Bartolo, painter (1363-1422), his works in Siena, 108, 141, 142, 180, 187, 277, 284; at San Gimignano, 345-347, 351, 353.

Tagliacozzo, Battle of, 19.

Talamone, Port of, purchased by Siena, 23; Urban V. received at, 30; Charles IV. demands possession of, 33; St Catherine negotiates with Gregory XI. concerning, 58, 59; represented in a fresco by Ambrogio Lorenzetti, 140; occupied by Andrea Doria, 212; retained by Spain as part of the _Praesidia_, 243; Dante's reference to it in the _Purgatorio_, 262.

_Tavolette di Biccherna e di Gabella_, 269-275.

Tino di Camaino, architect and sculptor (died in 1336), 99, 134, 162.

Tini, Fra Niccolò, prior of Lecceto, 306-308.

Tournon, Cardinal de, 224.

Todeschini, Nanni, brother-in-law of Pius II., received into the Monte del Popolo, 72.

Todeschini, family of the, declared popolani, 72. See Piccolomini.

Toldo, Niccolò di, his execution, 48-50; scene of, 148; Bazzi's representation of, 204.

Tegliacci, Niccolò di Ser Sozzo, miniaturist, 275, 350.

Tamagni, Vincenzo, painter (1492-1533), 342, 343, 350, 356, 357, 361, 362.

Tolomei, family of the, 2, 5; their palace, 6, 9; head the Guelfs, 19; factious against the Salimbeni, 24, 25, 30, 37, 48, 68, 289; their palaces, 289.

---- Beato Bernardo, 23, 26; Bazzi's picture of, 239, 266, 289; his life and work, 315, 316, 317.

---- Cavolino, the slayer of Provenzano Salvani, 20.

---- Giacomo, converted by St Catherine, 47.

---- Girolamo, ambassador to Charles V., 220; his report, 222; is poisoned, 224.

---- Guccio, 27.

---- Lelio, patriotic address to the Senate, 222; is poisoned, 224.

---- Mino, father of B. Bernardo, 315.

---- Nello di Mino, Podestà of San Gimignano, 353.

Torrita, Victory of the Sienese at, 29; represented in the Palazzo de' Signori, 137, 138.

Troghisio, Francesco, Podestà of Siena at Montaperti, 14.

Tura, Agnolo di chronicler, his account of the Black Death, 25, 26.

Turchi, Biagio, murdered, 76.

Turino di Sano, sculptor (early Quattrocento), 101, 181, 182.

Turino, Giovanni di, sculptor (1384-1455), 101, 142, 160, 181, 182.

Twelve. See Dodicini.

Twenty-four, Magistracy of the, 7, 8, 9, 10, 12, 13, 14, 20.

U.

Uberti, Farinata degli, 10, 12.

---- Fazio degli, 26.

Uberti, Neri degli, Podestà of San Gimignano, 329, 331.

_Ufficiali sopra l'ornato_, 246, 247, 267, 286.

Ugurghieri, family of the, 266.

---- Giovanni, fell at Montaperti, 159.

Urban V., Pope (Guillaume Grimoard), at Talamone, 30.

---- VI., Pope (Bartolommeo Prignani), elected Pope, 59; makes peace with Florence, 60; his character, 61; his relations with St Catherine, 62, 63; his struggle with the Clementines, 63, 64; St Catherine's last letter to him, 65; he is assailed by the Romans, 65; his fall, 65.

Urbano da Cortona, architect and sculptor (died 1504), 102, 157, 158, 159, 160, 171 (note), 192, 252, 284.

V.

Vaga, Perino del, painter (1500-1547), 159.

Valori, Filippo, 81.

Vanni, Francesco, painter (died in 1609), 124, 162, 197, 204, 205.

----. See Andrea and Lippo.

Vasari, Giorgio, 116, 117, 123, 124, 258, 262, 265, 317, 320.

Vasto, Marchese del, 217.

Vecchietta, Il (Lorenzo di Pietro), architect, painter, and sculptor (1412-1480), 101, 102, 109, 110, 119, 139, 247.

Venafro, Antonio da, secretary of Pandolfo Petrucci, 84; urges the murder of Niccolò Borghesi, 85; messenger to Cesare Borgia and represents Pandolfo at La Magione, 86; interviewed by Machiavelli, 91; his answer to a Pope, 92; secures the succession of Borghese Petrucci, 93; by whom he is banished, 94.

Ventura, Niccolò di Giovanni, Sienese chronicler, on the Battle of Montaperti, 16.

Venturini, Camillo, avenges the death of his father, 78.

---- Lorenzo di Antonio, 78, 273, 274 (note).

Vettori, Francesco, his letters to Machiavelli on the rout of Camollia, 215 (and note).

Vico, the Prefetto di, 40.

Vieri, Giulio, 242.

Vigne, Fra Raimondo delle, confessor and biographer of St Catherine, 47; her letter to him, 48-50; he goes to John Hawkwood, 52; at Avignon, 56, 57; St Catherine appeals to Gregory XI. through him, 58; he is suspected by the Sienese, 59; St Catherine's letter to him on the Florentine tumult, 60; at Rome, 62; St Catherine rebukes his pusillanimity, 64; her last letter to him, 66; his report of her reception of the Stigmata, 197; picture of, by Francesco Vanni, 205; referred to, 207, 208.

Villani, Giovanni, Florentine chronicler, 11 (note), 16 (note), 331.

---- Matteo, Florentine chronicler, 339, 340, 363.

Villari, Pasquale, 16 (note), 91.

Visconti, Bernabò, tyrant of Milan, relations with St Catherine, 51; dethroned, 67.

---- Giovanni Galeazzo, tyrant of Milan, attempts the conquest of Italy, 67; made Duke of Milan, 68; obtains the suzerainty of Siena, 68; dies, 68.

Vito di Marco, sculptor (late Quattrocento), 156, 157.

Vittorio Emanuele II., frescoes concerning him in the Sala Monumentale, 144.

Volterra, Bishops of, 313, 326-331.

W.

Wenceslaus, King of the Romans (Luxemburg), 68.

Z.

Zuccantini, Claudio, Captain of the People, 220; his oration in the Duomo, 220-222.

PRINTED BY TURNBULL AND SPEARS, EDINBURGH

FOOTNOTES:

[1] Rondoni (_Sena vetus_, p. 53) notes that, in contrast to Florence, there was no distinction between the Greater and Lesser Arts in Siena.

[2] Printed in the _Archivio Storico Italiano_, series III. vol. xxii.

[3] Siena is still divided into _terzi_ or thirds; the Terzo di Città, the Terzo di San Martino, the Terzo di Camollia.

[4] Rondoni, _op. cit._ p. 60.

[5] Letter of August 11th, 1259, still preserved in the Archivio di Stato of Siena, quoted by Paoli, _La Battaglia di Montaperti_, p. 13.

[6] The documents cited by Paoli prove conclusively that the story, told by Giovanni Villani, of Farinata contriving that the Germans should be annihilated at Santa Petronilla and the royal standard lost, in order that Manfred might be induced to send a larger force, has no historical foundation. Neither is it a fact that the Sienese were forced to induce the Florentines to resume hostilities because the Germans had been hired for only three months.

[7] The Sienese accounts of the battle by Domenico Aldobrandini and Niccolò di Giovanni Ventura (in which, says Prof. d'Ancona, the narrative has "una grandezza veramente epica") are in Porri's _Miscellanea Storica Senese_; for the Florentine version see Villani, vi. 75-79, and Leonardo Bruni, _Istoria Fiorentina_ II. (vol. i. pp. 215-225 in the edition of 1855). _Cf._ Villari, _I primi due secoli della Storia di Firenze_, ch. iv., and especially C. Paoli, _La Battaglia di Montaperti_, already referred to. _Il Libro di Montaperti_, edited by Prof. Paoli (Florence, 1889), is "the only official document of Florentine source which remains to us of that war."

[8] _Purg._ xiii. 115-123.

[9] _Inf._ xiii. 120; _Purg._ xiii. 128.

[10] J. A. Symonds.

[11] _Assempro_ II.

[12] Agnolo di Tura, _Cronica Senese_, 122-124.

[13] Malavolti, ii. 7. p. 132.

[14] Neri di Donato, _Cronica Senese_, 202-206.

[15] In the continuation (wrongly ascribed to Agnolo di Tura) of the _Cronica Senese_.

[16] _Op. cit._ 294.

[17] _Leggenda minore_, i. 12.

[18] Augusta Drane, vol. i. p. 83. I think that this author unquestionably deserves to be called the best of Catherine's modern biographers; but the reader must be warned against her historical inaccuracies and her treatment of some of the Saint's political letters.

[19] Raimondo da Capua, _Leggenda_, p. 226.

[20] _I.e._, since his first Communion--that at least seems the more obvious meaning of _la quale mai più aveva ricevuta_.

[21] Letter 273.

[22] Letter 272.

[23] Letter 11.

[24] Letter 28.

[25] Letter 29.

[26] Letter 109.

[27] Letter 140.

[28] Letter 168.

[29] Letters 185, 196, 206, 209, 218, 229. She has no thought of the Pope's return as a temporal sovereign. (_Cf._ letter 370.)

[30] Letter 207.

[31] Letter 240.

[32] Letter 247.

[33] Letter 252.

[34] Letters 270, 267. These have obviously been transposed in chronological order.

[35] Letter 285.

[36] Letter 291.

[37] Letter 295.

[38] Letter 303.

[39] The Dialogue, _Il Dialogo della Serafica Santa Caterina da Siena_, will be found in Gigli, vol. iv., and has been translated (somewhat freely) into English by Mr Algar Thorold. To the Dialogue and the Letters, we should add the _Trattato della Consumata Perfezione_ and a short collection of prayers, also printed in Gigli, _L'opere_, etc., vol. iv.

[40] Letter 306.

[41] Letter 310.

[42] Letter 317.

[43] Letter 349.

[44] Letters 350, 362, 357, 372.

[45] Letter 370.

[46] Letter 373.

[47] Barduccio's letter to a nun at Florence, describing every detail of Catherine's death, will be found in the Appendix to the _Leggenda_.

[48] See pp. 144, 145.

[49] Pastor, II., p. 147.

[50] Armstrong, _Lorenzo de' Medici_, p. 178.

[51] _Diari Senesi_, 836, 837.

[52] Zdekauer, _Lo Studio di Siena nel Rinascimento_, pp. 119-124.

[53] Letter of August 18th, 1500, published by F. Donati in _Miscellanea Storica Senese_, i. 7.

[54] Letters of January 6th, 8th, 10th, and 13th from Machiavelli to the Signoria. In the _Legazione al Duca Valentino_ (vol. vi. of edition cited).

[55] In Lisini, _Relazioni tra Cesare Borgia e la Repubblica Senese_, and elsewhere. It is dated January 27th, and had probably been delivered (though this has been questioned) before Pandolfo left.

[56] In Mondolfo, _Pandolfo Petrucci_, p. 99.

[57] _Niccolò Machiavelli e i suoi Tempi_, i. pp. 502, 503.

[58] The letters of this Legation in vol. vii. of edition cited.

[59] By a decree of the Balìa on September 14th, 1509; but this was not quite such a recognition of his dynasty as might appear, because a similar exception was made in 1518 (though only in their own homes) for some of the Piccolomini.

[60] _La Sculpture Florentine_, i. p. 134.

[61] M. Reymond, _op. cit._, ii. p. 46.

[62] Duccio is last referred to as alive in a document of June, 1313, and in 1318 his widow Taviana is described as _uxor olim Duccii pictoris_. See A. Lisini, _Notizie di Duccio Pittore_, p. 33. On Duccio's characteristics as a painter, the best thing is written by Mr Berenson, _Central Italian Painters_, pp. 18-42.

[63] _i.e._ The officials of the Gabella; see Chapter IX.

[64] The text of the Bull and Enea Silvio's letter in L. Banchi, _Il Piccinino nello Stato di Siena e la Lega Italica_ (1455-56), in the _Archivio Storico Italiano_, Series IV., vol. iv., pp. 56-58. See also next chapter, pp. 144-147.

[65] Berenson, _op. cit._ p. 56.

[66] _Italian Painters_, i. p. 158.

[67] Berenson, _op. cit._ p. 56.

[68] That is to say, if the Matteo Balducci who is mentioned as Pinturicchio's pupil in a document of January 1509 is the same as the Matteo Balducci who in 1517 became Bazzi's pupil for six years. Frizzoni (_L'Arte Italiana del Rinascimento_, p. 183) holds that they are two different persons.

[69] _Miscellanea Storica Senese_, v. 11, 12.

[70] See V. Lusini, _Storia della Basilica di San Francesco_, pp. 99-101.

[71] _Diari_, 809. The Cardinal mentioned is Francesco Piccolomini.

[72] See A. Lisini, _Misc. Stor. Senese_, iv., 5, 6. Mr Heywood's admirable little book, _Our Lady of August and the Palio of Siena_, deals exhaustively with this aspect of the past history and present life of the Sienese. The horse races of the Campo had originally nothing to do with the contrade, but were run by the Republic. Foreign nobles, even reigning sovereigns, entered horses, no less than did Sienese notabilities. On August 15th, 1492, the palio was won by a horse belonging to Cesare Borgia; but because his jockey (_fantino_) had won by a trick of questionable legality, the Signoria made some difficulty about giving him the prize--apparently at the appeal of the representative of the Marquis of Mantua whose horse had come in second. (See Cesare's letter in Lisini, _Relazioni tra C. Borgia e la Repubblica Senese_, pp. 11, 12.)

[73] See A. Lisini, _Chi fu l'architetto della Torre del Mangia_, in the _Misc. Stor. Senese_, II., 9, 10.

[74] The fullest account of these frescoes is contained in Milanesi, _Commentario alla Vita di Ambrogio Lorenzetti_, Vasari I. pp. 527-535. Apart from the great beauty of the individual figures, the spiritual power and imaginative insight of the whole conception are surely worthy of the century of Dante and Petrarch. But for a very different appreciation, see Mr Berenson, _op. cit._, pp. 50, 51.

[75] L. Banchi, _Il Piccinino nello Stato di Siena_, etc., _loc. cit._, pp. 226-230; Malavolti, iii. 3, pp. 51b, 52.

[76] _Documenti per la Storia dell' Arte Senese_, i. p. 188.

[77] Not to be confused with the more famous Gregorio da Spoleto, Ariosto's master, who held a chair here in the latter part of the fifteenth century.

[78] _Purg._ xii 10-93.

[79] _Nuovi Documenti per la Storia dell'Arte Senese_, p. 389.

[80] Mr R. H. Hobart Cust (to whose excellent _Pavement Masters of Siena_ I am indebted for many of these dates and authorships of the pavement designs) points out that the Cimmerian Sibyl is the one intended.

[81] The _Lupa_ and _Marzocco_ shaking hands in front of the tablet refers to the alliance between Siena and Florence concluded in the year 1483, in which this Sibyl was laid down. In Allegretto's _Diari Senesi_, under June 16th, 1483, we read: "The League was proclaimed on a chariot between the Signoria of Siena and the Florentines, with honourable conditions, according to what Giovan Francesco called Il Moro, the trumpeter of the Signoria, said. God grant it be true; for I cannot believe it!" (_Diari_, 815).

[82] We can measure the proportionate value attached to the designing and executing of these works from the fact that in the case of the painter Matteo, who only designed and did not execute, the remuneration was four _lire_, whereas Federighi, who both designed and executed his Erythraean Sibyl, received nearly 650 _lire_. See Cust _op. cit._ pp. 41, 47.

[83] _Op. cit._ p. 152.

[84] See Pietro Rossi, _L'Arte Senese nel Quattrocento_, p. 38.

[85] Folgore, translated by J. A. Symonds.

[86] See the fine sonnet sequence entitled _Niccola Pisano_ in _Rime e Ritmi_. The sculptor is said to have copied his Madonna from the Phaedra on the antique sarcophagus used as a tomb for the Countess Beatrice.

[87] There is an eloquent appreciation of the pulpit in Mr F. M. Perkins' _Giotto_, pp. 8-13.

[88] V. Lusini, _Il San Giovanni di Siena_, p. 23 (_note_). Giacomo was paid 52 golden florins and 34 soldi for his work.

[89] Pastor, vi. p. 201. There appears to be absolutely no foundation for the aspersions made by Gregorovius and other writers upon the moral character of this really admirable personage. Cf. _op. cit._, p. 199 (_note_).

[90] _Nuovi Documenti_, pp. 362, 364-368, 560.

[91] The bas-relief of St John Evangelist, over the altar to the right of the entrance, is the mediocre work of some sculptor of the Quattrocento, possibly Urbano da Cortona.

[92] See the document in Milanesi, Vasari III., pp. 519-522.

[93] _Cf._ G. W. Kitchin, _Pope Pius II._, p. 36.

[94] _Historia Friderici III. Imp._, p. 73.

[95] See _Misc. Storica Senese_, iv. 7-8.

[96] The question is well discussed in Miss E. March Phillipps' monograph on Pinturicchio, pp. 116-123.

[97] Anonymous Chronicle existing in the Archivio di Stato and the Biblioteca Comunale, quoted by Lisini, _Notizie di Duccio_, p. 5.

[98] Berenson, _Central Italian Painters_, p. 117.

[99] _Op. cit._, p. 41 (_note_).

[100] In the Appendix to V. Lusini, _Il San Giovanni di Siena_, there are a number of interesting letters about the progress, etc., of the work, from Ghiberti to the Operaio del Duomo and Giovanni di Turino, and from Giacomo to the Signoria.

[101] _Cf._ M. Reymond, _op. cit._, II. p. 98.

[102] _Cf._ Documents concerning the authorship of this fresco in Lusini, _op. cit._ p. 60 (_note_).

[103] See Alessio, _Storia di San Bernardino_, p. 60 (and _note_).

[104] Letter 321.

[105] _Leggenda minore_, i. 2.

[106] Rondoni, _Tradizioni popolari e leggende_, etc., p. 150.

[107] _Nuovi Documenti_, pp. 240, 241.

[108] _Documenti_, II. pp. 326, 339; _Nuovi Documenti_, p. 239.

[109] _Leggenda_, pp. 205, 206.

[110] See pp. 48-50.

[111] This does not refer to Bazzi's fresco, but to an earlier picture figured in Gigli, I. p. 24; possibly Andrea di Vanni is meant, as it closely resembles his work.

[112] See the Deliberations of the Balìa and the Concistoro for July 21st and 22nd, in Pecci, _Memorie_, _etc._, II. pp. 211-213.

[113] Letter of August 5th, 1526, in Machiavelli, _Lettere familiari_ (_Opere_, edition cited, vol. viii. p. 208). In answer to Machiavelli, Vettori gives further details in a letter of August 7th (_loc. cit._ pp. 210-214); "I believe," he says, "that on other occasions it has happened that an army fled at shouts, but that it should fly for ten miles, without anyone pursuing it--this I do not believe has been ever read nor seen." According to the Sienese accounts the papal army numbered some 18,000 men and lost more than 1000, while 150 Sienese were killed. Vettori says that 400 foot soldiers and 50 light cavalry issued out of Siena and put to flight 5000 infantry and 300 horsemen; but he evidently refers only to the sally from the Porta Fontebranda.

[114] Sozzini, _Diario_, p. 24.

[115] Sozzini, _op. cit._ pp. 26, 27.

[116] In the sonnet written in the name of the Mangia of the Tower of the Campo (the figure, removed in 1780, that sounded the hours, a kind of Sienese _Pasquino_) to the painter Riccio. Appendix to Sozzini, Document xiv.

[117] I have given this in full as a specimen of these donations of which we hear so often in the story of Siena. No less characteristic is the reply of the officiating canon, Antonio Benzi: "Your great and profound humility, Most Illustrious Lords, is manifestly founded on Faith, Hope and Charity. Faith is shown by the desire of uniting yourselves with our most just Saviour, receiving into your souls His most holy Body; Hope is shown by the consigning and restitution of the keys of your City to the most glorious Queen of the Heavens; Charity, by the vow of marrying the maidens in perpetuity by your free Republic. We, albeit unworthy of so great an office, in the name of Blessed Christ and of His Immaculate Mother, accept your vows and oblations. We remind you that Faith without works is said to be dead; that whoso trusteth in God with pure heart, will be immovable as Mount Sion; and that Charity unites us with God. Therefore have living Faith, firm Hope and ardent Charity; to the end that you may obtain your desire and that your City may be preserved in true liberty to the honour of God and of the Immaculate Virgin Mary, our Advocate and of all the faithful Christian people." (Appendix to Sozzini, _Diario_, Documents vi. and vii.)

[118] See the Genealogical Table of the Family of Pius II.

[119] _La Cacciata della Guardia Spagnola da Siena_, pp. 522, 523. The "twentieth hour" means four hours before sunset, or about four o'clock in the afternoon.

[120] _Diario_, pp. 89, 90.

[121] Sozzini, p. 93.

[122]

Cardinale, Cardinale, Tu ci rechi poco sale; Siena, Siena, verrà il medico, E ti guarirà dal farnetico.

Quoted in Rondoni, _Siena nel secolo_ xvi. p. 250. For other prophetic doggerel of the same kind ascribed to Brandano, see Olmi, _I Senesi d'una volta_, p. 270. Brandano died in Siena during the siege, in May 1554.

[123] _Giornale dell' Assedio della Città di Montalcino_ printed in the _Archivio Storico Italiano_, Appendix, vol. viii.

[124] Malavolti, iii. 10, p. 160_b_.

[125] _Ibid._ p. 161; Sozzini, pp. 157, 158.

[126] In this and subsequent quotations from Montluc I have availed myself of Cotton's translation of the Commentaries.

[127] Sozzini, _Diario_, p. 307.

[128] _Op. cit._ p. 317.

[129] _Trattenimenti_, i. pp. 8-10. He adds hideous details of their mutilation at the hands of the Spaniards, which have too frequently been quoted; Sozzini (who tells us that on one occasion the Spaniards succoured the fugitives, p. 376) mentions once that some contadini had their noses and ears cut off, but neither he nor Montluc gives any other hint of the peculiar hideousness and atrocity of Bargagli's version.

[130] See Mr Montgomery Carmichael's excellent and picturesque account of the _Spanish Praesidia_, in _In Tuscany_, pp. 283-314.

[131] _Nuovi Documenti_, p. 76.

[132] _Nuovi Documenti_, p. 75. These officers were first appointed in 1413.

[133] _Nuovi Documenti_, p. 201. She says that she has had the house designed by _uno valentissimo maestro_; but does not name him. See also P. Rossi,_L'Arte Senese nel Quattrocento_, pp. 27-29.

[134] Bargagli quoted by A. Marenduzzo, _Veglie e Trattenimenti Senesi_, p. 14.

[135] The Captain of War--afterwards the Senator--will not be confused with the Captain of the People. The one was an alien noble, the other a Sienese burgher.

[136] _Diari Senesi_, 775, 776.

[137] _Purg._ v. 133-136.

[138] Vasari.

[139] V. Lusini, _Il San Giovanni di Siena_, p. 14.

[140] "That vain folk which hopes in Talamone, and will lose more hope there than in finding the Diana," _Purg._ xiii. 151-153. The Diana was a subterranean stream supposed to exist under Siena for which, in 1295, the General Council of the Campana decreed that the search should be undertaken.

[141] _Documenti_, ii. p. 337; _cf._ Allegretto, _Diari_, 773. Notice the title _Spectabilità_; in a less democratic city than Siena, they would have been _Magnificence_. Incidentally, we may observe (a point frequently missed by English writers, especially of fiction dealing with the Italian Renaissance) that _Magnificence_ was a much less pretentious title at the end of the Quattrocento than it sounds to us now, being little more than the equivalent of "Your Worship" or "Your Honour" (though also applied to ambassadors); while _Excellence_ was, until the middle of the sixteenth century, reserved for quasi-independent potentates, such as the Duke of Ferrara or the Marquis of Mantua, ruling fiefs of the Church or Empire.

[142] See pp. 88, 89. In reading these documents, it should be borne in mind that the Sienese and Florentine year (but not the Roman) began on March 25th. The same rule applies to the dates on the Tavolette of the Biccherna and Gabella.

[143] Rondoni, _Sena Vetus_, p. 37. For further information upon the _Tavolette_ the reader may be referred to Mr W. Heywood's charming little book, _A Pictorial Chronicle of Siena_, to which I am indebted.

[144] _Cf._ Heywood, _op. cit._ p. 69.

[145] "The fury of arms having cooled down on every side, the Pope [Paul II.] easily found means to conclude an universal peace between the powers of Italy, wherein was named the Republic of Siena, in the name of which it was accepted and ratified by Messer Niccolò Severini, Sienese orator in Rome, in the month of May 1468." Malavolti, iii. 4, p. 70 b.

[146] _Diari Senesi_, 813. The Cardinal Malfetta is G. B. Cibo, afterwards Innocent VIII., _cf._ p. 76.

[147] _Diari_, 815, 816. The Lorenzo di Antonio mentioned is the Venturini who was executed in 1486 (see p. 78).

[148] _Cf._ Sozzini, _Diario_, pp. 23, 24 (where, however, Gabella is confused with Biccherna), and Heywood, _op. cit._ pp. 87, 88.

[149] For various documents touching these votive pictures after the Battle of Camollia, see _Nuovi Documenti_, pp. 434, 435.

[150] _Nuovi Documenti_, p. 245.

[151] Dante, _Purg._ xi. 109-111.

[152] See Gigli, _La città diletta di Maria_, pp. 29-35. The houses of Provenzano Salvani's family were in this part of the city--hence the name.

[153] See the Deliberation of the _Concistoro_ for July 2nd, 1460, _pro porta Sancti Francisci_, in Lusini, _Storia della Basilica di San Francesco_, p. 123 (_note_).

[154] _Nuovi Documenti_, pp. 222-224. The _Ufficiali sopra l'Ornato della Città_ are proposing to make a fountain on the Poggio de' Malavolti.

[155] The imposing tower at the back of the Palazzo Tolomei, at the beginning of the Via dei Termini, is the Torre Miganelli or Castelli, in which the public bells were hung.

[156] See the _Miscellanea Storica Senese_, iii. 4, p. 59.

[157] The story of Anselmo and Angelica is inserted in the _Annali Senesi_ under 1395, and is told by Sermini and Ilcino. That of Ippolito and Cangenova (which from the mention of Messer Reame should, if historical, be referred to the same epoch) is related by Olinda in Bargagli's _Trattenimenti_.

[158] The sole value--and that is not much--of Fortini's work lies in such little transcripts from Sienese life in the Cinquecento. The rest is sheer pornography, and the man's life was as vile as his novels are filthy.

[159] _Cf._ Alessio, _op. cit._ pp. 103, 104.

[160] _Sketches and Studies in Italy and Greece_, iii. p. 68.

[161] Landucci, _Sacra Leccetana Selva_, pp. 76-79.

[162] _Assempro_ xl. It was this Frate Bandino who founded the convent of Sant' Agostino in Siena.

[163] _Assempro_ xli. is the life of Niccolò Tini.

[164] Letter 326, written from Rome, December 15th, 1378.

[165] Mr Heywood, in his account of these frescoes (_The Ensamples of Fra Filippo_, pp. 227, 228), appears to have missed this, the essential point of the allegory.

[166] _Assempro_ xxiv.

[167] _Nuovi Documenti_, pp. 202, 203.

[168] For further details, see Antonio Canestrelli's admirable monograph, _L'Abbazia di San Galgano_.

[169] Oraffi (_Vita del B. Bernardo Tolomei_, pp. 44-72) gives what is said to be the text of this homily. It may, possibly, be a genuine work of the Saint, but as it speaks of "the schism arisen in the Sacred Empire, now many years ago, between Frederick of Austria and Ludwig of Bavaria," it could not have been delivered on this occasion.

[170] Frizzoni, _op. cit._ p. 115.

[171] _Cf._ Frizzoni, _op. cit._ p 117.

[172] _Commentarii_, x. pp. 482-484.

[173] _Storia della Repubblica di Firenze_, i. pp. 389, 390.

[174] A. C. Swinburne, _Relics_.

[175] There are two hotels in San Gimignano: the Albergo Centrale and the Leone Bianco. The present writer's experience has been confined to the Albergo Centrale, which is pleasantly situated and excellent for so small a town.

[176] Pecori, _Storia della Terra di San Gimignano_, p. 41.

[177] Coppi, _Annali, memorie, etc._, pp. 108-114. I have spared my readers some of the details of "cette existence d'expiation." Not many of us can look upon these things with the eyes of M. J.-K. Huysmans, in his _Sainte Lydwine de Schiedam_: "Elle fut, en somme, un fruit de souffrance," he writes of Lydwine, whose life was very like a prolonged version of Fina's, "que Dieu écrasa et pressura jusqu'à ce qu'il en eût exprimé le dernier suc; l'écale était vide lorsqu'elle mourut; Dieu allait confier à d'autres de ses filles le terrible fardeau qu'elle avait laissé; elle avait pris, elle-même, la succession d'autres saintes et d'autres saintes allaient, à leur tour, hériter d'elle" (p. 291).

[178] Pecori, p. 113.

[179] In May 1899, San Gimignano kept the sixth centenary of Dante's embassy, and it was on this occasion that the real date 1300 (instead of 1299, as hitherto supposed) was discovered.

[180] Rossetti's translation.

[181] Sonnet 33 in Navone's edition.

[182] _Cronachetta di San Gimignano_, 163-171.

[183] Matteo Villani, iii. 22, 46, 55, 69: Pecori, pp. 168-171.

[184] _Cronachetta_, 8-21.

[185] iii. 73.

[186] The conditions of this final submission are given in full in Pecori, pp. 174-179.

[187] With the exception of the churches of Cellole and San Pietro, San Gimignano is in the diocese of the Bishop of Colle. The chief ecclesiastical dignitary of the town, the head of the Collegiata, is the _Proposto_ or Provost--at present the learned Don Ugo Nomi-Pesciolini, whose invariable kindness and courtesy to visitors are well known to English travellers.

[188] See the list given by Mr Berenson, _Florentine Painters_, pp. 132-134.

[189] "The bones of a virgin lie hidden in the tomb which thou beholdest, stranger; she is the glory, the example, the guardian of her fellow-citizens. Her name was Fina; this her native land. Dost thou seek miracles? Scan what the wall and life-like statues teach."

[190] It has been argued that the last line of the epitaph proves that the frescoes were painted not later than 1475; but this is not by any means conclusive, as the subjects had probably been settled from the beginning.

[191] So I gather from Fra Matteo and Pecori; other writers call it the Palazzo Ardinghelli.

[192] See the _Confessions_, i. 9.

[193] _Confessions_, viii. 12.

[194] _Ibid._ ix. 10, 11.

[195] See above, p. 330 (and _note_).

[196] iii. 96.

* * * * *

Typographical errors corrected by the etext transcriber:

Piazzo del Campo=> Piazza del Campo {pg 100}

instarsia is the work of Fra Giovanni da Verona of 1503=> intarsia is the work of Fra Giovanni da Verona of 1503 {pg 167}

ike Francis of Assisi, to to have received=> ike Francis of Assisi, to have received {pg 197}

Ufficali sopra l'Ornato=> Ufficiali sopra l'Ornato {pg 267}

It walls are covered=> Its walls are covered {pg 285}