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}