_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]
[Illustration:
_Alinari, Florence_
THE FUNERAL OF SANTA FINA
(DOMENICO GHIRLANDAIO)]
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
[Illustration: A GROUP OF CHORISTERS
Detail from the Funeral of Santa Fina. (DOMENICO GHIRLANDAIO)]
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
[Illustration:
_Alinari, Florence_
THE SCHOOLDAYS OF ST AUGUSTINE]
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.
[Illustration: Map of SIENA.]
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.