WI LLIAM HEYWO O D

AUTHOR O F

Ou r La dy of Aug ust a nd the Pa lm of Szen a “ ’ The En a m e o Fr a Fz lz o a stu dv s pl s f pp ,

‘ ’ o [Me ie v a Sz en a cj c . f d l ,

M any colo ured tablets brigh t

Wi th lov es and w ars o f old . M Lo rd AC AU LAY .

SI EN A

1 90 2 .

rr All ghts reserved .

PREF E AC .

~ o f w a s There are , course , at least two y of ld looking at o pictures . We may seek only for artistic pleasure j udging them entirely accord ing to their possession or lack o fthe five elements

d : 2 of ecoration I ) significance of form , ) pattern ,

- and 3 ) colour , 4) space composition , 5 ) richness

and of material texture ; or , starting with the axiom that the proper study of mankind is d man , we may prefer to regar them simply as d literature , en eavouring to see with the eyes of the

d and men who painte them , to learn what life was like in the days when the refulgence of their

“ A" O P P- n d d d e blues and re s was not yet ulle by tim , nor

z the splendour of their gold turned to bron e .

Probably n either method of study is satisfac d d tory if wholly ivorce from the other , but it is clear that in this matter very much must depend upon the subj ect a nd character of the particular

d and pictures un er consideration ; I conceive that , when a series of paintings has been executed mainly with the obj ect of recording definite his toric al d e events , we are j ustifie in rem mbering that fact and in giving due weight to their i1 lustrative value .

Ta t/old ie w Thus , in the case of the , hile I trust that I am not blind to their decorative ele in ents the w d , I have , in follo ing pages , treate

d And them primarily as historical ocuments . that this method is not without good precedent d let the wor s of Professor Paoli bear witness .

He says : Queste Tavolette dipinte costituiscono un d aleo rafi a fatto , possiamo ire , unico nella p g e artistica ; perch , se in tutti gli archivi e musei e biblioteche si trovano isolatamente coperte di d libri o ipinte o scolpite o riccamente fregiate ,

’ ’ e e io non v bensi in n ssun altro luogo , ch sappia ,

’ un altra z e i colle ion come questa , cos regolata e

d uffic iale i meto ica nel suo carattere , e cos svariata

‘ L e Ta v o/ezie nelle sue rappresentaz ioni artistiche .

' ' ’ ‘ ‘ senesz 72072 zcm zo 5 0720 noievoZz per c /zé affr ont) nuoz/z

‘ ' ' ‘ ‘ i a a for za d lla zfzur a loc ale uanao doc um em ll s e p , g

‘ par e/l a 68 [a mos zm no (ed 2 9 246s 27 [07 0 c a m i

' ' ‘ ' ' ’ ' zer e p zzk szng olam) in r elaz zone c og lz org am smz

6 5 01141 v im p olitical dellcz Rep ué

Mi a c .

It may perhaps be well to remark that , in

Tat/old ie d ed illustrating the , I have cre it the reader with at least as much knowledge of the C d history of the ommune as may be obtaine , for

° 5 267c example , from a perusal of the article in

“ the Enc yc lopmdia Britannica and have therefore dwelt at greater length on such pictures as rep resent or symboliz e comparatively little known

1 and t events , like the Pestilence of 43 7 the ear h

1 6 d quakes of 4 7 , than upon those which epict battles and treaties of European importance or nd N um the coronations of Popes a Emperors . ot

de d d d frequently , in e , where they are evoi of ar tistic merit , I have unhesitatingly relegated Ta

volette of the latter class to the list at the ' end

of the volume .

It only remains to add that I am indebted in a very special manner to the learned works of Si

Cav A d Lisini and . gnor . lessan ro Prof Paoli , with w hich I have headed my list of authorities .

WI LL I A M H EYWO O D .

S ena Ventana A l 1 02 . i , , pri 9 TABLE C N EN OF O T TS .

List o f Illustrations Page 1 1

Pri ncip al Authorities

The Of e o f e na and o f G ab e11a . . fic s Bicch r ,

The painted book - covers o f Biccherna and o f Ga

b e lla .

The Tavol ette o f the X I I I th and XI Vth

C enturi es .

The Ta e t o fthe XVth e nt . I I . . vol t e C ury

The Ta t o f th X I h e nt II I . volet e e V t C ury

L o f the Ta t 1 0 ist vol et e . 5

Chronological Table o fthe Princip al Si enese Painters 1 1 7

d x O O . 0 0 n O . 0 O 0 0 I 2 I e 0 . . . . Q . 0 . O . 0 . 0 . 0 0

L LL A N IST OF I USTR TIO S .

L T Th n r ad n P A E I . e Coro ation o f O u L y by Sa o di Pietro Fro ntisp i ece

' t a n in the Libr a dz B I I . Pho ogr p h o fE try ic c /zer na o f 1 3 July 1 2 82 P age 2 2

f m f e d . a Ta I II Co ts o Ar s o the Provv itori . ‘ ‘ ' v oZezza dz Bit e/25 7 ml o f 1 2 63 .

n d l m n Ta D o n Ugo Camarli go e Co u e .

‘ ' ’ z voletza dz Bzc c / em m o f 1 2 5 8.

' Tavoletta di Bzc c /zer na of

The M adonna recommending the City

o f Siena to her Divine So n . Tavo

' Zefla dz Gaéella o f 1 480

a e of L ez a M alav o lti. Tavo VI I . M rriag ucr i

' Zefi a dz Gabella o f 1 473

'

a t . Tav oletta dz Gabella VIII . All egoric l Pic ure o f

PRI N CI PAL AUTH ORITI ES .

' ‘ ' I I T v ol tt dz zme dz Eir e/25 77 26: e di Ga . L SI N L e a e e A , p

’ ’ ’ Za d ia in i na T hzw o dz S m S e . bel el R . Am ( his

b o k c has been e e ent n ed t an o , whi h mor r c ly p ri t h

an o f t k e e te d b ea ne t e y the o her wor s h r ci , rs i h r da n r a m o f te o nam e o f p ublish er . It is volu e

ab t 1 n e in e 1 0 in d and 2 ou 4 i ch s h ight , ep th

in I t nta ns x e ent e d t n o f breadth . c o i e c ll r p ro uc io s all the Tavolette together with an i ntroduction and mm c o entary . )

‘ ' ' ‘ . L L e Tav olez te dz zm e della Bic c her na e deZZa C PAO I , p ’ ' ' i D s Gabella nelZ Ar c /zimo dz Sid io di S ena . iscor o i a adem del di 2 a s 1 8 1 S ena T . cc ico 3 go to 9 ( i , p

n a A cor ,

’ M S I N I L r d lla ab lla L . l mz e U S , e Tat/o e della Bzc c he e e G

' della Rep ubblzm di Siena Lettura (Adunanz a del

’ di 1 7 luglio I n Afi z e M emor ie deZZa Se

' ‘ ’ ' ’ c m z zone Zetzem ma e di s fo r z a p atma della R . A d ’ d ' ' ” emza ez R i a a Se . oz z z d Sien . Nuov rie , vol III ,

‘ ‘ 2 fr zz im nale di Ro ma C . Rasse na Se a p . 7 . g , I I ,

- Th 2 2 f 2 0 8 8. e e 0 2 a . del t b 1 7 7 , sc o to re 7 sam article was published in French in the periodical

’ ‘ L Ar z 1 8 I X 2 2 - 2 2 nde the t t , 77 , to . , pp . 5 3 , u r i le

’ L es Cozw er lm 'es des lit/r es de Bzee/zemza el de Ga

’ ' '

belle. de la Re ublz ue de z nn p g S e e .

' ’ ' ’

. FFR Y Tablelles znedzles de la Bzee/zem a el de A GE O ,

' " ’ ’ ’ la Gaéella (le Szem ze in lllelafl es d Ar e/zeolo , g

’ ' ' ’ ’ ' g le el d Hzsloz r e p ublies par l Eeole fr afl eazs e de

- Rome 1 882 to . . 1 , , I I , pp 4 5 434 .

‘ L . C H Co er lzn a (ii a n libr o s mzese del 1 8 in BAN I , p 49

’ [l Bzbli l ann 1 8 - o o a z 80 . . fi , o I , m r o , pp 3 3 35

'

F. LL T( wolelle di inle della Bz eelzer na di Siena E ON , p ' ' “ e/z e s i c onser v ano nel M u dz Ber lzno in Bul seo ,

' ' ' l l zno 872 d i / l e l 5 85 6 z S m a Pa lr za . , vol I I

1 0 - 1 1 0 pp . 1 .

/ ll t L a Se la. della [ Mosh a. e i"M aseo delle Tavole e dipin e

' ' ' ’ /z r /zzm dz della Bz ee em a e della Gabella nel R . A e o

Slalo in Siena a al I V t , om ggio Congresso s orico

ta an S na L z z e i li o ( ie , a ri ,

’ ‘ W z / d . R A N ew Hzs or C AVALC ASELLE an . G . B . J A C O E , j o Paintin in I tal L nd n n f g y ( o o , Joh Murray ,

1 vol . I , p . 79 .

' ' R S Tlze Celzlm l [lalzcm Pazl em o llze Re B . BE EN ON , f

a ’ naissanc e L nd n e Y k . . na ( o o New or , G P Put m s

n nde k o f the n a so s , I x to the wor s pri cip l

nt t an n . 1 1 et se . Ce ral I ali Pai ters , pp 3 q HERE are in Siena two of the most u , curious specimens of artistic paleog r aphy which the world has ever d C seen . One is the celebrate athe d C ral Pavement , the other the overs o f old the Treasury Registers of the Republic , better known by their Italian title of the Ta ‘ ' ’ i l a v olezle (lp znle del/a Bzeeher na e della Gaée l . Of these the latter is unquestionably the most d Ta v o worthy of stu y , not only because the ‘ lezle do not labour under the disadvantages of position and material which detract so fatally from the merits of the Pavement regarded as a e series of pictographs , although as a whol it is d 1 no oubt sufficiently imposing , but also because ,

1 I t is a wo rk in which the talents of the Arti st and th e ma terials emplo yed are alike p erv erted to the least appro pri ate u ses but it is m uch admired by p erso ns who like to b e amuse d wi t h the ” ’ n en o s ar tifi c es o f m a l — E s tor zc a l e s C . . i g i u is pp i d kill . NORTON , ’ s tu dzes o Ch h Bu z ldm m the M ddle A es New Yo H a e f urc g g ( rk , rp r 81 6 s . a e 1 n te . Bro , p g 7 o - 1 6 entirely apart from their enormous value as works

of art , they possess an historical importance which d d it woul be har to overestimate , constituting , d ae in fact , a pictorial chronicle of the Me i val C ommune .

‘ ' ' Ta v olez le clz zh le d The p being , as I have sai

- book covers , it will be convenient to commence our enquiry w ith a brief account of the two great administrative offices of Biccherna and of Gabella the d to which books in question belonge .

I n Siena , from the earliest times , a large part of the business of the government was transacted

‘ Ba lée C Bani homznes by or ommissions of . In i d d d Z dek auer Ba lm ee , accor ing to Professor , the was the original and primitive form in which C d ” the political life of the ommune manifeste itself , L all the magistracies , nay even the egislative ' ‘ ’ C Cons z lzo Gener a le a ella Ca m ouncil itself, the g a h a p , being in their inception nothing more than provisionary commissions which in process of time I f became permanent . this theory be correct , it would be impossible to discover a better example of the development of a Ba lm into a permanent and powerful magistracy acting upon its own r e d d Bic c her na sponsibility than is affor e us by the , d which , coeval in its origin with the first ays of

’ 1 L Z D EK AU ER L a v z/a ubbh ea del Seues z n el D ent S ena . , p ug o ( i , h z r l tz n e e e Laz z e a e 1 2 1 . See a so t e D sse a o ri , p g s , 3 l pr c d s ’ the sa me a u thor s m ag n i ficent e di tio n of 11 Const z/nlo del Comm ze dz '

Ho h a e 11 . Szena de ll am zo 1 262 an U . e (Mil o , p , p g xx d e civic liberty , continue to exist for mor than six centuries and long outlived the Commune ’ ' r om 'ea z lor i r ov i which gave it birth . Of the P (p sor es d d , as the officials who presi e d d in Biccherna were calle , we have recor as early 1 1 6 as 7 , nineteen years before the Republic was formally recognised in the name of the Empire by VI H enry . ; while the magistracy in question was only finally abolished by Pietro Leopoldo in 1 7 86. The etymology of the word Bic c her na has given rise to almost as much discussion as that u r A d of our Ex c heq e . ccor ing to most writers it is derived from the German é u c her (book) : but Signor Lisini is disposed to think that it is more likely that the magistracy took its name from the A end place where it originally sat . t the of the XI I th century the Consuls held their sessions in a building which belonged to the parish church of San Pellegrino and which was called Be c her nd or

’ d “ Bzc her na . Here too were to be foun the Prov

' d Ca ma r lzn o ve itori who , with their g d d a ministere the public revenues ; as also , at a d C a and the later perio , the ourt of the Potest d offices of sun ry minor functionaries . In the

’ year 1 2 7 5 the Provveditori were left alone in Eze c hem a r e , all the rest of the officials having moved elsewhere ; and it is therefore probable that d 1 they acquire their name from this circumstance .

— A. LI SI NI Le Tav o ette dz m te T t h &c . a es 111 1v . a t e , l p , , p g h offi ci al s o fBicch erna re mai ned in San Pellegri no unt il the Pal az z o Pub blic o w as erected in the Piaz z a del C ampo is prov ed by the entri es in From the first this magistracy seems to have consisted of a Chancellor or Cama r ling o and four d e Provve itori , a number which was scarcely ver d increase or diminished. It is true that for a d d dd brief perio , towar s the mi le of the thirteenth d century , there were only three Provve itori , while , 1 1 d after the popular victory of 3 7 , the esire of extending the honours and emoluments of govern

' ment to as many of the Popola r z as possible led to the nomination of sometimes six and some times seven officials but even then , although their

‘ num be w as d d r well nigh ouble , they still bore ‘ ’ ' ld u rl i z their o title of the Q a h r o Pr oove z or . At first the office of Camarlingo was occupied z d and by a citi en ; but afterwar s , for many years 1 2 and 1 especially between 7 5 3 49 , it was , as a d rule , conferre upon a member of the monastic d e C or ers , gen rally a istercian of San Galgano or N one of the Frati Umiliati . or can we greatly wonder at such a choice when we remember that both these orders lived under the rule of St . Ben edict and consequently numbered among their an members many men of ability d learning . The monastery of San Galgano in particular had ac quired such consideration and importance that its monks were often called to arbitrate upon the 1 most difficult and delicate questions ; while in

mbe 1 282 t e bo o s e a n the ent a b t em e . . t at o fDe e h ir k r g rdi g r p id y h , g h c r tem x v lzb mino Gr e or zo de Sa nc to Per e r m o r o enszone Bzc I . do g g p p ' he ne r zm zis v m ens zbu s L b e na ad ann m . c r , p j ( i ri di Bicch r , u , c 1 T s fo r e am e in 1 2 1 the bbo t o f San al ano a te hu , x pl , 5 A G g c d

o ld there was a reversion to the system , but it o nly continued for seven years after which the office was filled exclusively by laymen . The Camarlingo and the Quattro Provveditori d o f were electe every six months , their terms of fi c e running from the first of January to the and thirtieth of June , from the first of July to the

- fi r thirty st of December . I t is no easy matter ’ to give even a faint idea l o f the importance of the Magistracy of Biccherna d C in the early ays of the ommune when , by reason of the multiplicity and Scope of its admin istrativ e d functions , it must have forme a con siderable factor in the daily life of almost every m and ember of a wealthy enterprising community . d I nto the Biccherna were poure the customs , the r es fa nz e d p , the fines , the taxes levie for concessions and and of privileges monopolies , whatever other e assessments , imposts or tribut s went to make up o f the revenues of the State . Thither came the fi c ials Uni of the Republic , the professors of the d and versity , the ambassa ors the commissaries to d d d raw their salaries ; there the hea s of the guil s , the artisans and the mechanics who were engaged upon the public works , the painters and architects C i d in the employ of the ommune , rece ve their wages ; there alms were distributed monthly to mendicant friars and to the poor ; while there also

' ' oer r ov zer z a the of the Potest , the ministers of justice and the mercenary tr00ps who were hired

by the government were paid for their services . da In fact , in the office of Biccherna , on every y o f th C e year , except the festivals of Holy hurch , a perpetual stream of persons o fall ranks and ages and was passing to fro from morning till night , intent either to receive or to pay money in larger

or smaller sums . Thus the Books of Biccherna contai n entries and ed of the most interesting vari character ; such , d d s for example , as the amount expen e for perche fo r the falcons wherewith the Emperor Fred w erick I I . went a ha king in the plains of Orgia ; the price of the purple mantle which the ill - starred C orradino offered on the altar of O ur Lady o f Grace before he set forth to meet his doom at d Charles o f A and the han s of njou ; , two years d V for later , the sums pai to entura , the painter , emblaz oning the arms of that same Charles upon

' ’ 1 m e Bonzc i et z z den . Bo o c d April 1 247 : I tem x x x zz zj so l . j

’ ’ ‘ t ldo mzm z l t r o er ac zm en to Zz no r u m u e h abuz t et .s a Co s qu os so m p p f g q

’ ’ ’ ’ oper atus est p r o fac endzs lec ter z zs domzm I mpe r a tor zs et p r o s ta nc hzs ' ' ' ' r o onendzs a lc om bus ezdem dom zm [m er a tor zs a e zsc o a tum p p f p pud p p , ' c a m v em t em — m 71 s l omin Ber n a r dm o ohanm s Pa e r o S . l te o . s . d o j p p ’ s a a ambas c za ta c u m u no equo quan do w z t in plam cm Org ze et a d ' ’ a te z llas r omden da r ov er za r o domm o I m e ato e m v olebat p r s p p p r r , g z r e v en atzcm — X l Vo l. IV . I z . , c 9 ’ ’ ’ ' n 1 268 I te v z ol o dzc tus Camer a r z us e : m x zzz lzb . x s . Ju j , j , qu s ' ' ’ ' s olv it in r esentza dzc to r um at o Ar r m er zo z en da da r zo et 5 0 p Q u u r, g ' ’ t z zs de zo s u er u nt n ov em Iz br e r o u a dam a am oblam t , ou u f p q p urpur qu ’ ’ domzn u s Rex Cur a aus in su o av entu m a ta e sa nc te M a ze et uin l r r , q ' ' ne h br e et e em et e tem s ol u er z mt r o tr zbu s enn om ous r o o d c s p . f p p p ' ’ z endo et on en c ap p do c o mp o et zm a bandzer a (c . ' ' T h ere are numerous entri es in the Lie dz Bzc c her na to uchi ng en es n ad n O ft ese th e m t the exp s i curred to do h o n o ur to C o rr i o . h os t nt av e t A P F I in Co r imp or a h been collected by Do t . . RO ESS ONE his ' '

a in dz Sv eZ/z a e 1 1 su o assa zo er Szena and b A . L I SI NI o . c zt . r d o p gg p , y , p , - a es v v 1 no te . p g , s 1 Ca r r oc c io the of the imperial city , and to messer Deo Tolomei and the other Guelfs for destroy 2 and z ing the tower palace of Proven ano Salv ani. Elsewhere are entered the wages earned by the officers of j ustice who burned the false- coiner Ca 3 p o c c hio the fines paid by Cecco Angio lieri and C D by the Florentine asella , him whom ante

’ woo d to si ng M et in the m de de o f il r sha s Purgatory , both of them condemned for wandering about the streets at night after the ringing of the Cur 4 few ; the sums given as compensation to citi z ens

1 I tem x l sol den dzc tu s C a mer a r zu s so lv zt Ve nt e zc . . quos ur , p t o i ui in t a a e Car u tz z n c a o io v o l. XXX V 1 2 0 r g p xi rm r g is rr cc ( III , 7 , ind X da t F Se t a eb . . III , . , c t m u z I e I li b. a C amerar ius e t et s olo it Gu elc his qu s [ ]d di , q dis s i av er u u t tu r r m lz r u m alv n i— tem x x x x zz z a dedzt p z fi o S a I l j libr . qu s ’ et solv it dom ino D eo de Totomezs p r o dissipan do pa latium fi lzo r u m Sa lv a n i —I tem x lzb J a ob A be t n r o a c ien do s omb a e t a . c o l r i i p f g r r s r t a m apud Sa n ctum Cr istofor um de lapz dzbus domus Pr ov enz anor u m et c et . v o l X L 1 2 0 1 0 ( . , 7 , c . 9 , , 5 I tem x x x m zi s ol i ta di e st 1 2 in u no o r in o de j . d c (5 Augu 93) fi a o t ib s a ldzs u i ec er unt n am iustitza m i e o e e ur , r us q f u g , d o qu d f c ru nt c ombu r i C APO C C HI U M et in terfec er u nt fi lium Ser Gu zdz de Po m e ta v o l. LXV . c ( III , c C asell a app ears to h av e b een twice co ndem ned fo r the same fe n e o n the 1 th and 2 15 t l 1 282 the fi st t me in o m an o f c , 3 J u y , r i c p y t An i e o o lier i the e o n a o ne . wi h C cc g , s c d l I te m x x s ol die ta a C EC C HO omin i An iu lzer i Sula c h a . dic d g fi , ia u z t inv enc tus de n o te o t te ti m an m Cam ane Comu n zs qu f c , p s r u s u p u e uls a tur de e q p s ro . I tem x x s o l x zi I nlt i a C h omine C e ia t ih . , ] ASELLA , uri , qu fui n v entus de nocte post te rtium son u m C ampan e Com u is . ’ t m x x s l die i ta a de F o entia ho mzne C ie I e o . , d c SCARSELLA l r , ur , m u m s quia fu zt m v en tus do u oc te post te rtium s on u m Campa ne Co I (c . ,

_ _ 2 4

of the most miscellaneous and incongruous char d acter , but which in their entirety probably affor d and us a better i ea of the habits , the virtues the vices of the men of that day than all the and chronicles histories which were ever written .

Although the administrative mechanism of the

office was by no means complex , it was well cal ula d d a d c te to prevent frau n malversation . Thus while all disbursem ents were made by the Camar in e s d lingo person , it was nec s ary that they shoul be made in the presence and with the consent of at least two of the Provveditori who were held equally responsible with him for any improper d expen iture of the public monies , such responsi bilit d y, in fact , only ceasing where a special or er in writing had been received from the Governa

tori or the Potesta. A notar ius c a mer a r ii sc r ittor e di Bic notary ( , c her na) sat beside the Camarlingo and entered d d each payment in a book provi e for the purpose , d d and specifying by whose or er it was ma e , not d ing which of the Provve itori were present . With regard to the monies received at least C equal precautions were taken . The amarlingo was not permitted to accept any payments di r l d ec t y. These in the first instance were ma e to the Provveditori whose duty it was to note why and by whom the sums which they thus received d and were pai , to tak e charge of them until the l da . following y Then , at ast , they were trans d C d ferre to the amarlingo , who thereupon cause an entry of the money so consigned to him (r e asseg na ta) to be made in the proper book . d When the treasury was empty , it was the uty of the officials to borrow money on the best terms possible , never however paying a higher rate of interest than that which was usual among the merchants and business men of the city . More d m over , before incurring such a ebt , it was eces — sary to obtain the consent of at least three quarters of the members of the Consiglio G enerale della C ampana . For the superintendence of all these operations the Governatori and the Consoli di Mercanz ia ap d e d pointe another official , who was g nerally selecte

’ from the so called Ter z iar i or hom ines de Peni teu tia d , a class of persons who occupie a position d and and mi way between friars laymen , who , at d d and least in public , pose as rigi moralists warm c haritabl w rk d supporters of e o s . This official note d d in a separate book all the monies receive , pai and d transferre in the office of Biccherna , whether by the Camarlingo or by the Provveditori ; and he was obliged to submit the same to the inspec tion of the Governatori and of the Consoli di z end Mercan ia at the of each month , as well as upon such other occasions as they might request to see it . His regular term of office was six d b d months , but that perio might e prolonge or curtailed at the pleasure of the Consoli and G0

v ernato ri. — 2 6

Under the Communal system the power of

many of the officials was very great ; but , on their retirement from office they were at once divested of all authority and were held strictly had d accountable for all that they one amiss . Even the foreign Potesta was obliged to remain in Siena for eight days after the expiration of his ’ r o r eddenaa r a tione a dminis tr a tionis mee term , p et g estionis gua m fec i eg o v el s oc ius meus v el a li ’ u is ae a milia mea q f , while his successor was sworn to hear all complaints made against the

- and d d out going officials ; , in ee , from the earliest had times , it been customary to appoint com missioners to enquire into the actions of the re i tiring magistrates . I n the case of the officials of Biccherna this de d inquisition was ma by three goo , sufficient and ed legal men , specially nominat to examine item by item the accounts of the preceding half d year . For this purpose they were allowe a d d w 1 1 8 in perio of thirty ays hich , in 3 , was

1 t —T at n L Z D EK AUER L a v i a bb a 0 . c it . a e 1 . ev e . , p u lic , p , p g 3 h in the c ase o f the high est M agistrates o fthe Republic th ese e nquiri es migh t lead to v ery se ri o u s co nse quences let the fo llo wi ng pass age fro m the Chro nicle o f NERI DI D ONATO (ad a nn um 13 55) b ear wi tness : La ’ ’ ‘ l ez i o ne prima de Sig nori Dodici di Sie na essendo u sci t i d Ufiiz io del ’ m ese di M aggio e di Giugno fe mol te e grandi baratterie nel loro Uf ’ fi z io U n e e l P e ta S e na fe n s z ne e e nt a . d od s di i i qui i io proc ssi co r di ’ ’ o o e ese se o v ann dell Ac ua el a e era tat de e tt l r ; pr Mis r Gi i q , qu l s o d i ‘ S no : e t ov ato el v e ll a m ta a in a o er a sa o l fe ta ig ri r ro , co i r c p p f l ri i a e la te ta e e e b an a o Pie e a Ser ac o m o dl D O gli r s ; di d do Gucci ri , J ’ m en o R c he o ns e me de S no : no n l o te a e e o ic icci , fur i i ig ri i p pigli r , p r “ li di ede el b ando . d d creased to two months . If they iscovere any d d instances of frau ulent or wasteful expen iture , it was their duty to cancel the obj ectionable items and to charge them to the officials who were d responsible for the same . Finally they reporte the result of their revision to the Consiglio Ge nerale which thereupon voted the approval or rejection of the accounts in question .

- In addition t o the receipt and disbursemen t C and of public monies , the amarlingo the Prov veditori were entrusted with innumerable other duties of an extremely heterogeneous character . They nominated the custodians of the public ba nditor i the C c a fountains , the of ommune , the s tellani and other minor officials , either on their own authority or , in certain cases , in conj unction d with other magistrates . They supervise the and d repair maintenance of the streets , the bri ges and the fountains ; they provided for the con d and struction of public buil ings , especially for the excavation of those bottini or subterranean waterways which still spread like a network be d d neath the city . The Provve itori who assume office in the month o fJuly were further charged m to inspect the state armories , to exa ine the con d - and im le ition of the tents , cross bows other p z ments of warfare , causing the maga ine in which they were stored to be opened at least twice a the end d week , to that they might be foun fit ’ fo r use at a moment s notice ; while , together with _ 2 8 _

a the Potest , it was their care to cause the black and h white marble , the bricks and lime , with whic the Republic annually provided the Operaio del D C d uomo for the work on the athe ral , to be brought from the quarries and kilns of the con — tado a labour best performed during the summer d d and dr months when the roa s were har y. In process of time the old systems of collect ing revenues and tributes were greatly modified ; and the d d , as metho s of a ministration became d d d more complicate , the number of chests estine d al to contain the public monies increase , until f most every office had one o its own . Thus a large part of the business formerly transacted in Biccherna was transferred elsewhere and the Prov veditori lost m uch of that authority and consider C ation which they had once enjoyed . When o ’ de d e 1 simo Me ici becam seignior of Siena , in 5 5 7 , their already sadly diminished powers were still d and further curtaile , , long before the final sup pression of their office in the last quarter of the had d d d eighteenth century , they win le into mere ae d d iles , one of whose principal remaining uties was

to make arrangements for the running of the Palio .

With regard to the office of Gabella a very few words will suffice . In the early years of the Commune there was e d very littl irect taxation , except in the case of d e war or other extraor inary emergency . In thos days the penalty of almost every crime might be d 1 commute for a money payment , while many d offences were punished by confiscation of goo s . Moreover the large revenues which accrued from these sources were effectually supplemented bya quantity of tolls and customs the ingenuity and number of which might well arouse a feeling of envy in the minds of the acutest modern financiers . 1 1 8 d The year 9 , however , saw the intro uction of L ir a Es timo the or , a system of taxation which was based upon the principle of assessment and which was gradually extended to all the subj ects end of the Republic until , by the of the follow had d ing century , it become the or inary means 2 A of raising money . bout the same time in order to simplify the work of the administra tive officials and to reduce the expense of collect d d ing the public revenues , the plan was a opte of farming out certain dues and imposts ; and the management of these transactions was entrusted

1 C m a e e am l e 1 8 2 01 20 2 0 20 2 1 1 2 2 1 2 22 o p r , for x p , 33 9 , , 4, 5 , 9 , , , ,

22 6 S1 C . ofthe fi t D st n t n o fI l Fr ammen to e i timi due b del , f h i i c io d g l ul li ri u antzc o n t t to n i Co s Se ese 1 2 62 b e b L . Z DEK AUER in p i u ( pu lish d y , Bu llettz no se nese di to ia a tr z 2 t e the a v o l. a es 8 e s s r p , III p g q . — The well known story o fAnselmo Salimb eni and A ngelica Mo nta — n n t n o n t s a t e See . SERM I N I N ov e e L v o no i i ur s up hi pr c ic . G , ll ( i r , F i a e 1 V 88. . go , p g ’ ee L L Estim in th t i S . I a Li a o l o e A t e a R . Ac BANCH , r d ll ’ ’ c ademia dei Fzs zoc r ztic i di S ena se es v o l a s La Li a i , ri III , . II ; l o r , la Tav o a e e session i e le este b the same a t o in the l d ll pos p r , y u h r ,

A c h sto it . se es . . v ol VI I a t a es et se . r r , ri III , . , p r II p g 5 3 q To t ho se stude nts o f M e di aev al I taly w ho are i ntereste d in the q ues t o n o f ta at o n in the X t re i x i I I I th C e ntury I cannot to o s ro ngly . A V ’ co mmend Sig . G . S L EM I N I S M ag na ti e popo lan i in Firenz e dal 1 280 ' F nz e al 1 2 e C . C ar nesec c hi a . 6 a es o et se . 95 ( ir , , ch p II , g , p g s q to a new magistracy which was known by the ’

U c io de li . Esec utor i ai name of the fi g Gabella . By the Esecutori the right of collecting the dues which were charged at the gates of the city 1 and d in the public m arkets , the taxes impose upon d d the ven ors of certain comestibles , the tolls pai by those who frequented the baths of the con d 2 d d d ta o , traversed certain roa s , or bri ges , or rente

“ z z and d pia e , shops houses , were sol to the highest dd E d bi ers . ven the custo y of the gaols was put 3 up to auction ; while the public coffers were yet further enriched by the sale of numerous m on0p 4 olies , not the least among which was the privi lege of conducting games of chance such as ta ° z v ole and a r a . However the principal duty of

1 See the Sta tuto de lla g abe lla e dei pass agg i da lle po rte de lla ztta di Sien a 1 01 —1 0 L I amo n the Stat t c ( 3 3 3) publi s h e d by . BANCH g u i R m ene i o o na . o a no l v o l. . s s (B l g , G g i , II Fo r so me acco u nt o f the baths o f the Sienese co ntado see H W The Ensam le Fr a F a t o Ill e W . Y o o E OOD , p s f ilipp , s udy f ’ n To n a es - 0 dza v a l Sie a S ena 8 . ( i , rri i , p g 75 5 I n t se a s as is e ll no n the C o mm ne a abs l tel ho d y , w k w , u p id o u y no t n to a s th e ma ntenan e its so ne s and the n ent hi g w rd i c of pri r , i dig amo ng t h e m were co nsequ ently almo st entirely d ep ende nt upo n the l The ee e s o fthe ao l e a te m ea its nmates ch aritab e . k p r g x c d fro ch of i the sum of 1 0 so ldi if his term o f i mpri so nment l aste d for more th an tw o a s and o i fo r a s o te e T s a man w as ibe ated d y 5 s ld h r r p riod . hu who l r the same da o n he w as n a e a a soldz his o n y which i c rc r ted p id 5 . If m so nment w as fo r ebt his a e w as ent t e to e man 2 de i pri d , g ol r i l d d d na i ev e i a o e and nt es e e a he m t de r for ry l r w d u il his du w r p id , igh cli ne to rel ease his pri so ne r . ’ See fo r a o o e am e L a a t e a abe a e a s a z z a , g d x pl , pp l o d ll g ll d ll p t n r z z z l L Z La v ta bb i a 81 0 a n a a b s e b . DEKAUER pi , pu i h d y , i pu l c , , 6- 1 e e I o c zt . a es 1 1 1 V . p . , p g 7 , App ndic 3 As to the games o f ch an ce played by the Sienese in the X I I I th

I V 2 . and h nt s e H Y o zt . a te X t e e se W . W . c c uri , E OOD , p , ch p r , a,

most ancient registers of Biccherna were com d of Ga pose parchment , as also were those of d bella . These volumes , which measure between fourteen and fifteen inches in length and from d d nine to ten inches in epth , were at first boun d with the utmost simplicity , being merely enclose d ta v ole ta v olette between two wooden boar s ( , ) , d d connecte only by a leather strap or ban , so d d that the backs were left uncovere . Thus protecte they were stored away among the archives of the d office to which they belonge . Before long , how d d be ever , these bare and unornamente boar s d z came an eyesore to the goo citi ens of Siena , whose artistic feeling was so early manifested in e and the emb llishment of their city ; , in the first XI I I th z half of the century , they began to embla on upon the Tavolette the arms of the Camarlingo and of the Quattro Provveditori together with the 1 title of the book therein contained. A A C a fter this first step progress was rapid. m arlin o d u n g , move by the perhaps somewhat monastic ambition of handing down his form and e features to post rity , caused his portrait to be painted seated at a table or counter (ba nco) and — whereon were books money the position , he d d d in fact, which had occupie aily uring his and w as term of office ; the example once set , d followe by his successors . Thus the earliest Ta volette which we possess may be divided into two

1 L M USSI NI Le Tav ette e a B c he na e e ta Gabe a . , ol d ll i c r d l ll , o c it in l t o f a t o it es o n a e a 1 . p . . is u h r i p g 3 supr

Pro v v e classes , those belonging to the Quattro ditori and those belonging to the Cam arlinghi. On the former are inscribed the names of the d d Provve itori , accompanie by their coats of arms , blaz oned according to the heraldic art (Plate III) ; on the latter are the figures of the Cam arlinghi in (Plate IV) . I n both cases a chronological dic atio n is added which sometimes takes the form d d and of a efinite ate , sometimes consists merely o f a reference to the Potesta who was then in

d d. office . More often both in ications are combine A lmost invariably , the lower half of the Tavolette are left bare , the inscriptions , the coats of arms and the portraits being crowded into the upper and portion terminating with the connecting strap . L e ittle by little , however , thes unpretentious compositions gave place to pictures of greater and o f d artistic merit more elaborate esign . The C and eternal amarlingo became wearisome ; , in XIVth the first half of the century , we encounter d and A e Tavolette painte with figures of Saints ng ls , and scriptural subj ects allegories ; while , later on , we have representations of actual historical events . The first signs of the coming change manifested themselves shortly after th e creation of the Mag istrac y of Gabella , when the officials of Biccherna , perhaps urged thereto by the fear that the covers of the books of the new office might surpass their own in beauty , began to keep one of their reg isters in Italian instead of Latin and on paper d instea of parchment . The other book was written , - 34

old L and d as of , in atin , from thenceforwar it alone was covered with Tavolette ; so that the money which up to that time had been spent on the embellishment of two books was now able to 1 be devoted to one . Upon that one were in scribed the names both of the Camarlingo and d e of the Provve itori , while the entir surface of the d d Tavoletta was use for ecorative purposes . The first example which we have of this change is to

1 1 . be seen in the Tavoletta of 3 4 There , on the d d d left han portion of the upper half, is epicte the Camarlingo to the right are the arms of the d Provve itori , while the lower half is completely d V occupie by the inscription (Plate ) . A new departure was made towards the middle XVth w the of the century , hen , use of paper w d d having ell nigh superse e that of parchment , the registers of Biccherna began to be made of the former material and to be bound in leather

1 The reader will remembe r th at at fi rs t the usu al price p aid

for p ai nti n g a Tav o l etta w as 5 soldz (see no te 5 o n p age 23 supra) . Fo r the fi rst Tav ol etta di G abella which remai ns to us 7 sold: w ere p aid : ' 1 1 2 1 I tem v z so l . a M assa r u c zo dz e n zto r e e he di e use e 1 9 . j p g p rc p ’ a e a a me br o de Sig nori de la c b l loro a r . I n 13 07 w e h av e a more el abo rate Tav ole tta di G abella which a n ted v e its e nt e a e and t s ll ow e b the Tav is p i o r ir surf c , hi is fo d y o i tta e na 1 1 1 i a w as a : Au c ha l b , le di Bicch r of 3 4 , for which l r p id j ' ’ dz e nitu r a el lzbr o de ent a ta e de l usc zta el a e r zma ne i n p g l r , qu l e na Bicch r . Tav o lettta : I n 1 334 the o ffi ci als of Gab ell a p aid 2 lire for th e ir i 1 1 1 n r e L . Z w e n E demo per fac z tu r a questo lzbr a e pe r dzpeg a . ] hil 4 m a a law w as p asse d li mi ti ng the M agi strates of each o ffi ce to u n u fl e h m a u r z r o bet b a nan b tan te a i h h uz usmo dt li b r zs r u p quoli li r , o s qu d

er z salea nt m a za ex e u sa Stat . 11 . . fi r p ( 39 , c

Before leaving this branch of our subject it may be remarked that the affreschi of Sano di d Pietro , above referre to , are not the only mural pictures which the officials of Biccherna have be ueathed two q to us , since in the rooms which consti tuted e d d th ir office , we see epicte many interesting d and episo es of the history of Siena of Italy , as well E as certain biblical subjects . ven in the XI Vth century they had (as we learn from an entry in their books of 3 0 June 1 3 5 2 ) paid to Lippo di x x v li x v l v ii V lx b. so d . en anni the sum of j j , r o ic tur a ua m ec it in Bic c her na v idelic et Ca p p q f , na tio os tr e D omino r o N . Of this work a record still exists in the legend visible below the newer affresco of Sano di Pietro : L ippus Va nnis de Senis fec it lzoc op us sub a nno D omini m illes imo c ntes imo li 1 tr e e j . Moreover in 3 44 the officials of Gabella employed Ambrogio Loren z etti to paint an Annunc ia tion upon a tavola the dimensions of which were far too large for a book cover . This work will be found in the Accademia delle Belle

A z . rti (Stan a I I , no I t is known by the ’ name of the Madonna de Don z elli since it was an object of special veneration among the ser At v ito rs of the Palaz z o . the foot of the picture : XV D1 DI C EBRE is the following inscription II . 1111 FE E AM BRVO GI O LO REZ I E C CC XL. V M . . . C Q STA TAVO L A ERA C A M A RL ENG O Do FRACEsc o M O N AC O DI SA GA L GA N O E ASSECVTO RI BI Do PETRVCC I GI OVAN L D I M I30 BALDI NO TTI M I N O AG O O LO CTI TTO E N . D I AD REO CC I O . SCRI R L N studying the Tavolette we may con v eniently follow the example o fPro fesso r Paoliwho groups them together d e d : 1 un er three p rio s , namely ) the thirteenth and fourteenth centuries and the fifteenth century , 3) the sixteenth cen d tury . Th e collection en s with six Tavole and i two . p c tures on canvas belonging to the seven teenth century but , for our present purpose , these may be ignored since not only do they show a sad d d histo r eca ence in art , but are of little or no ical importance . And first of

The Tav olette

o the XI I I th a nd X I Vth Centur i f es .

The Tavolette belonging to this period are 2 4 1 and Ga in number , namely 9 of Biccherna 5 of bella . With one exception all of the latter belong to the fourteenth century , whereas no fewer than

ten of the former are anterior to that date . The general characteristics of this first period A are as follows . few Tavolette of the thirteenth century are without other ornament than the coats o f d arms of the Provve itori , but the majority of both centuries display the figure of the Camar o r lingo , either alone accompanied by his notary ’ sc r ittor e ai Bic c her na X IVth ( ) . I n the century d as I have sai , the pictures of Saints begin , to

gether with som e allegorical compositions . The most ancient Tavoletta w hich remains to us antedates by two years the Battle of Monta d di e . p rti It was painte by Maestro Gilio Pietro , and represents a monk of San Galgano in a white d d d . ress , seate in profile on a chair I n his han s L he holds a book (Plate IV) . ike the work of Dietisalv i d who painte several of these portraits , it reveals no sensible progress in the art of the and d time , is chiefly interesting as affor ing us some idea of the appearance of that Do n Ugo who was nine times elected Camarlingo of Bic and cherna , whose name is familiar to us in con nec tio n with the steps taken for the construction of a fortress in Montepulciano during the Poteste ria of Proven z ano Salv ani. For the rest there is little to be said with regard to the Tavolette con

taining the portraits of C am arlinghi. Typical d figures , if we consi er them in the aggregate , they have individually no great importance either

- d . from an artistic or historical stan point It may ,

40 "

I n the Tavoletta of 1 3 3 4 the coats of arms of the Esecutori appear for the first time below

the connecting strap . l d These religious subjects , a though , no oubt , of less interest than the allegorical Tavolette of 1 3 44 and 1 8 d u and 3 5 , have still a istinct historical val e , d d shoul by no means be ignore simply because , w d d d d in their present some hat ilapi ate con ition , d they o not greatly please the eye . Rightly con sider ed d o f , they serve to remin us the fact that the life of the Middle Ages dissevered from its superstitions would be as incomprehensible as th e I liad d d Pa r adise L os t without its conten ing eities ,

without its Satan , or the twentieth century with o and out its railways , its R ntgen rays its wireless

telegraphy . Heaven and hell were very real to the men of d and and those ays , the saints were very accessible — very human easily angered and easily cajoled. Was it not a matter of common knowledge that As had d and St . Francis of sisi receive the stigmata

that Christ H imself had appeared to St . Catherine ? and exchanged his heart for hers Did not San Gal d d . an gano behol the twelve apostles on M Siepi , was not his sword still to be seen miraculously imbedded in the rock Did not O ur Lady spread her white and luminous mantle over the Sienese host on the eve of the glorious victory of Monta and did d perti ; she not , for all her ivine mother d m uc h o f and hoo , retain so \ earthly weakness of D d a female vanity , that uccio was not afrai to p peal to her for favour because he had painted her so radiantly lovely ? The existence of the celestial po wers and their intervention in human affairs were facts to be calculated upon and allowed for ; and thus the XI I I th and XI Vth was religion of the centuries ,

in one way , extremely sincere . It may not have led to virtuous living — if a man was not a m is d creant , a misbeliever , that was of quite secon ary importance— but it did lead to a very constant and d z the vivi reali ation of superhuman , while , in d A some sort , men followe the maxim of the postle , and did d d d did , whatsoever they in wor or ee , all in the name of the Lord The sessions of ’ their Councils were Opened in God s name ; their statutes were compiled in nom ine pa tr is et fi lii c i spir itus sa nc ti or a d honor em dei et bea te Vir g inis et om nium Sa nc tor um et Sanc ta r u m dei ; their first care was to legislate for the protection and maintenance of the loc a v ener abilia et r eli g iosa ; they slew their enemies and prosecu ted their vengeances in the name of the Almighty 1 and for H is honour ; while , often enough , they d d waste valuable time , which might have been use fo r e warlik preparations , in making useless pro 2 and f cessions o fering up unavailing prayers .

1 See e am l e D EL LU G U na v en etta in Fi enz e in , for x p , N O , d r D al Se o e da l Poem a dz D a n te l Z m h lli o o na N . a c e c lo (B g , , a es 1 2 —1 2 8 p g 7 . m C o a e DiNO C M P G I C an i a or entz na X I I I . D EL p r O A N , r c fi , II , ; I LU G D a Bon az io VI I I a d Ar r z o VI a ne di t a ar en N O , if g I , p g i s ori fi tm a Ho e li - ano U . a e 6 (Mil , p , p g s 4 47 . Under these circumstances we cannot wonder that the universal sentiment of the age left a deep impression upon its art , or that the Sienese painters of the XI Vth century should have proclaimed them in d e e er selves , the opening wor s of th ir statut , p la r a tia di D io m a nifes ta tor i a /i uomini r ossi g g "g c he non sa nno lec ter a de le c ase mir a c olose o e , p 1 r a te er v ir tii et in v ir tii de la sa nc ta ede p f . With the Sienese religious feeling was a passion on a par with all the other movements of their quick and mobile temperament ; it needed ecstatic ” d and art for its interpretation . What was col d and sober woul not satisfy them , so it came to d pass that a city fame like Siena for its vanity , and d its factious quarrels , its elicate living , pro duc ed an almost passionately ardent art of piety . And thus too it is that when we find the Camar lingbi of Biccherna embellishing the covers of their books of account with figures of saints and caus ing themselves to be depicted as kneeling in ador in ation before them , there is nothing strange or

’ ’ ' 1 B ev e dell Ar te de Pitta i senes e a nno M C C CL ub r r i d ll V, p ' lished b I I in his D o m en ti er la t a dell a r te se y G . M LANES cu p s ori "

n e Po v o l . a e 1 . I t w as sa s . se S ena O . ( i , rri , I , p g , y Mr BER “ the e b s ness o f the m e aev a a t t to re - te the ENSON , chi f u i di l r is wri to es o f the Sav and o fHis mma ate t e in t a s s ri iour , i cul Mo h r , pic ogr ph l l ea t em At the so e aborate th at ev e n the most u n ettere d co uld r d h . same t ime th e se picto graph s were i nte nded to be o ffered up as a sac r ifi c e a o n t all the e t o fthe n n and a t al e at n , l g wi h r s fur ishi g c u d cor io ’ o f s o l o se and fo r t s t e e e to b e as e e n e nt as God h y h u , hi h y w r r spl d " l ll l m m The Cent a I ta ian Pa nte s o go d and ski co u d ake th e . r l l i r f - the Rena ssan e a e 18 1 . i c , p g s 9 2 A M Rena issa n e m I ta The F ne A t Lo n . SY J . ONDS , c ly, i r s (

- do n a es 2 20 2 2 1 . , p g consistent about the matter . Rather is it a perfectly natural and normal manifestation of the prevalent ideas of the period in which they lived ; and these ideas it is necessary that we should recogniz e un less we are content to wholly misinterpret much h dd of t e history of the Mi le Ages . th o ld d d E Moreover e superstitions ie hard. ven XVI th e in the century , wh n the classical revival had d d e had e d transforme the worl , wh n men r turne in all sincerity and faith to the glory and glad the ness of nature , when Protestant Reformation had raised almost half of Christendom against the d o ld As Pope , Siena still faithfully tro the paths . often as danger threatened or was averted ; when d d d r fri nd ever enemies inva e her bor ers o . e s gained a victory ; if pestilence ravaged the dominion or inclement seasons gave warning of coming scar d d A d e . s city , the ancient cre ulity r vive if move e d by a common impulse , the entir populace cla themselves in garments of penitence and went in d procession through the streets , or hurrie , in holi da e y attir , to join in public festivals of thanks th d f giving . By e comman o the Government gifts were made to the thirty o dd convents of the t and f i ci y its environs , rich of er ngs were borne in d solemn pomp to the churches , bonfires were lighte , cannon were fired and costly religious ceremonies

were performed. Praise was given to heaven if aid d things went well , its implore if fortune proved

d. d A unkin In eight ays only , from pril 3 to A 1 1 1 2 d d pril , 5 5 , accor ing to the calculations ma e - fift by Professor Falletti Fossati , no fewer than y three masses were said by the order of the Mag nific ent C — a ollege , cypher which gives an appall ing idea of the vast sums which must have been d d waste upon ivine offices , to say nothing of the money spent on wax candles and o blatio ns ; and ‘ this at a time when the public treasury was well 1 nigh empty . Th e earliest Tavoletta painted with a religious 1 2 0 subject is , as we have seen , a San Galgano of 3 ; the last of the series is a San Galgano of 1 682

We now come to two allegorical Tavolette , both of them representing the Good Gover n m nt o i a 1 e f S en . I n the first of these (that of 344) we see a figure in the prime of life seated in At majesty upon a throne . his feet is the she d wolf suckling the twins , an obvious recor of the d legen ary origin of the city . His garments are

and C . white black , the colours of the ommune d d I n his right han he hol s a sceptre , in his left a medallion whereon are depicted the Virgin and C d d hil a ored by two angels , as in the most ancient

A d C . . civic seal . bout his hea are the four letters S V d V A C . C . , which we may oubtless interpret I I T S SENARVM C V A V N al I I T S IRGI IS . I t seems

1 F in the se n the tw o e t e o n C . ALLETTI co d of l c ur s the P in i a : a e e a a ta e a Re bb i a ene e he r c p l c us d ll c du d ll pu l c s s , which e v e e in 1 88 be e the d m Fi i i i H ase a e a de i sio c r t c . e b d li r d 3 for R. Acc i s stateme nt o n the Benv o lze nti Ill zsc i n h B ’ ‘ A M his g . t e I BLI O I EC C O UNALE

D 1 SI M s . . a 0 el n . V e 1 D G v e n dz ie a S . ENA C , 5 , p g 4 , o r o — 45

most superfluous to remark that the subject of this Tavoletta is the same as that w hich consti tutes the central group in the magnificent affresco

of Ambrogio Loren z etti in the Sala della Pace . I ndeed an examination of the two pictures makes it appear highly probable that they are both the

work of the same master . In the latter the ma jestic giant of the Regg imento towers above all nd r the other figures in bulk a stature . The vi tues and d d which float above him , are enthrone besi e — h 1 and e . him , are his assessors inspirers is king

In the Tavoletta , on the contrary , he sits alone , in the utter solitude of complete and unapproached

supremacy ; grave , impressive , calm . and Born of the same school , with the same is 1 8 allegorical conceits , the Tavoletta of 3 5 , wherein a company of citiz ens stand to the right and left of the central figure of Good Govern ment to whom they are bound by means of a a d rope which both he n they hold in their hands . O n either side trumpeters blow upon their trumpets d announcing to the worl the public felicity . This d use of a rope as a symbol of civic concor is , of

1 A zt 2 — — . M See . SY o . c a es 10 2 1 . M r . e ens n J ONDS , p . , p g 4 B r o , ” al m st b n to the m tan e at he te m me e st atio n o li d i por c of wh r s r illu r , “ “ and bent o n e o t n his et t eo o f ta t l e v a e at an o st xpl i i g p h ry c i lu s , y c , as t e e e the a a and me a a t t m e t e b es t ese if h y w r lph o g of r is ic ri , d scri h “ ” m t a nte C a c it a es o es as tt e e an a a e o . . e fr c li l or h p i d h r d ( p , p g If fo r him the fi gures of Lo re nz e tti b e i ndeed powerl ess to s p eak ' for t emsel v es m a t s no t be due to a a t at nt mate n h , y hi l ck of h i i k ow m at t m v a e nab e e e o f and s e ae e . S l dg y p hy wi h di l lif , which l d Mr y “ " mon ds to perce iv e wh at a p assio nate and i nte nse m eani ng t h ey had for the great maste r w ho p ai nte d th e m ? 46

d L course , borrowe from the great fresco of oren z etti d above referre to ; but , if the symbolism is z d the same , the events symboli e were essentially — different a fact for which we might almost be prepared by the diminished nobility and strength d 1 8 in the face of the Goo Government of 3 5 , as d d 1 compare with that of his pre ecessor of 3 44 . d The first is aristocratic , forceful , still ; the secon , to say nothing of his narrower shoulders and

meaner form , is almost plebeian in his aspect ; and , if I am not mistaken , his glance is furtive . During the first half of the century Siena had been ruled by the great merchant oligarchy of N 1 d d the ove who , for many years , isplaye as much

1 Tw o rece nt E nglish wri ters h av e co mpl etely m isco nce i v ed the a a te o f t s ma st a I h e Hi t St t n n T o o . Ca he e o ch r c r hi gi r cy . s ry f ri f S ena a nd h er om an ons b A T D Lo n mans een i c p i y . . RANE ( g , Gr m t at at the e C o . 1 8 w e are n o e o n a e o o f , 99) i f r d , p g 9 , h p ri d ’ t C at e ne b t the o v e nment w as in the an s the a S . h ri s ir h g r h d of p pa an i o r m le- l t m l F I in The St r a s a es e n e . W o o l , idd c s r d whi TTS y f " ” C a the rine of Siena (The Splendid Li v es ser i es) calls th e N o v e ” an O ligarchy o f i nferior arts (page The phrase is gi v en b et ee n o tat o n ma s be n ev ent o e t o t en w qu i rk , i g id ly c pi d wi h u quiry m so me e a l l - n me a t —B the stat te oft e ea fro qu l y il i for d u h or . y u h ir cr tio n it w as pro v id ed th at the M agi stracy o f the Nov e sh o uld be e l e te de ban zs et le alzbus me r c a to r ibus and w e s o l no t be s c d g , h u d guilty o f any great exaggerati o n if w e ch aracteri z ed th e ir gov ernment v nme n f m ant n e C e Pe e a o n s le as a go er t o erch pri c s . upl qui c qui ’ v sur les n ble est la a te b o eo e m o ée des l pou oir o s c h u urg isi , co p s p us es c o mmer ants et n st e l : la ma e des et t at o ns des rich c i du ri s ss p i s p r , ’ a t ans des v e s en es t abso l me nt st n te e t n a as ans la r is , ou ri r u di i c p , d m ‘ t o mm ne de v eritable nfl en e . Le e e l ev e l du e t e l e C u , i u c pr i r l p i p up ’ amene ra la chu te des No v e ; m ais pour l iii s tant il est hors du ch amp ” t e The l n o l o ns ste no t o f n e a t poli iqu ru i g igarchy c i d i f rior r s , ’ ’ but l Art (les M arc haii ds e me nt t e t - a- e des ban of propr di s , c s dir ’ e s et des s e tate s et l Art de la La ne . LUC HAI RF qui r gro xpor ur , i J ,

Viv a la Pace d d of , thus raise , correspon s the sym bolic al picture of the Tavoletta and both the one and d the other , viewe in the light of the actual and facts , assume the character of a grim sanguin the d ary jest . In streets of the city , the sacre name of Peace had been used as a signal for Of pitiless slaughter , while , in the painting the d d d Biccherna , th e cor in the han s of the Goo Government does not gather together all the n people of Siena , but o ly joins the faction of the

victors by a strong and exclusive bond. The do and trumpets not announce peace happiness , but vomit forth fierce blasts of triumph and of menace

to stun the ears of the exiles and the conquered. To what extent the new Government deserved the epithet good we may perhaps gather from the d Conc istor o 1 0 e we d recor s of of 3 9 , wher in rea that and A d the Priors , for J uly ugust in that year , pai 2 0 soldi d uod a fine of each , which was inflicte q

inor dina te v ix er unt et c ontr a bonos m or es, ex ea m ax ime uia lu r ies et lur ies in m a ne a nte q p p , ua m missa dic er etur c omedeba nt e ones et r uc q , p p f tu a d ex edr a m tus, et bibeba nt, et m ax ime m ul m ,

u a m ita quad v ideba ntur ab hominibus des per C po . And these were the chief magistrates of the Re " M onte del Po olo had public The p been born , and the democratic evolution was completed. With all the subservience of the vulgar the rulers of Siena seconded the ambitious designs of z d Gian Galeaz o . They unite with him to make war upon Florence with which they had been at 49

and c end the peace , often in alliance , sin e the of preceding century ; and they reaped the reward of their servility by so completely exhausting the C 1 00 resources of the ommune that , in the year 4 , t they were fain to accept him as heir seignior . I t e d is tru that his rule only laste for four years , but it sufficed to show that the minds of the Sienese were already attuned to servitude ; and the - c a n z one of Sav io z z o da Siena a la ude di Giov a n Ga leaz z o duca di Mila no simply voiced a feeling which must have been common among men who had suffered as much as had the Sienese from the evils of Republican rule . It begins as follows

e a m na a t n e Nov ll o rchi , gius o sig or , e ente ad e n t Cl m p r , i signe , vir uoso , Per c ui p ac e e r iposo Spera tr ovar 1a dol c e

E e r xc ssive praise , no doubt ; and pa tly , as what e af d d s d d com s terwar s emonstrates , in pire by hatre the for Florentines , that

detestab il seme N imic o di quiete e c ar itade Che dicon liber tade ‘ E c o n p i ti tirannia ha gu asto il mondo .

Still it is not unreasonable to suppose that - al ready some of the more thoughtful among the z had e w citi ens begun to perceiv hat , at a later d Guic c iardini did perio , not fail to proclaim , that the subjects of a seignior are , as a whole , freer than those of a Republic bec ause a Monarchy i ” i e pi l comune a tutti .

— : RESPUBLI C A a public thi ng m ef e t A sha ul shamel ss p ros itute , W o ne d m a not hose lust with lor y suit , So tak es by turns its revelli ng n t a t at m n A igh with e ch , ill each or d and b e te n f t f n Is strippe a or h orlor , And a her n I f le ves , cursi g her . she , nd ed a no t e —d a hid I e , h ve some sp ic r ught , n n n I sce t u de r a silver lid . — To dre nch his Open throat with he O nce h ard asl eep ; and thrust him not n At daw b eneath the boards to rot .

It may be remarked that the large number — of coats of arms there are thirteen of them emblaz oned upon the Tavoletta of 1 3 85 are due the to the fact that , after revolution , several of e d d the officials wer remove , their places being fille

' by persons devoted to the new government . Those old d d mo d Sienese appreciate , as fully as oes the A and ern merican politician , the great patriotic principle that to the victors belong the spoils .

t r The Tav olette of the X Vth Cen u y.

It has often been observed that the Sienese were slower than ' their neighbours to feel the in

1 A F I I l ' zmar di e e no ie e e e c on/ a nic di . RANCHETT , p d ll sig r d ll p

v ent a n e enz a te n ta F e nz e n el 1 8 1 bb ata nel a Vzta. ur , co f r u a ir 9 , pu lic l ’ - As zta lza na nel T e en to ano F ate l T ev es a e 2 . r c (Mil , r l i r , p g 5

P m e anesi 8. to Sav ioz z o da S e na see UGU RGI ERI . Le o i p s , I , 54

o f and her ancient art her rivalry with Florence , e d the c ntre of humanism , may well have tende o ld d to make Siena tenacious of her i eals , which , and e d to artists p ople alike , seemed to be in is solubly connected with the triumph of patriotism i a nd the gloryof the Commune . ’ ’ Moreover the Br eve dell Ar te de Pittor i Se n esi contained a clause which penali z ed all foreign a d rtists esiring to exercise their calling in Siena . Anc ho or denia mo (so runs chapter XI of that S tatute) c he qua lunque dipintor e for es tier e vor r a ’ v enir e a a r e l ar te ne la c ittd di Siena c he ina nz i fl , c he c ominc i a la v or a r e a hi e a a r debbia a i , p g p g ’ ‘ ’ l univer sitci de di intor i r icev endo el c a ma r len o p , g ’ ’ er la detta a r te u no or ino d or o e c he l detto p , fi , for estier i debba dar e buona et sofi c iente r ic olta in ” 2 a ti i ir fi no la quan td d XX V l e . . Such a tax was heavy enough to be practically prohibitive , and , if beneficial to the pockets of the Sienese d painters , was certainly etrimental to their art , since so stringent a protection of home industries must have out most of them o ff from any know d e and le g of the work done by their neighbours , thrown them back upon their own resources and o ld d their mo els . XVth Thus the art of Siena , in the century , d was , if not actually retrogra e , extremely conser

’ 1 P ROSSi L a te sen e e nel att o ento in the Bu llettm o . , r s Qu r c ,

‘ sene e di stor za at ia v o l. VI a es e t se . s p r , p g 3 q 2 m nt S . I I D o e O . C it . v o l. a e . ee also G M LANES , cu i , p , I , p g 5 a LI I L a e 2 2 ch p . , III , p g . v ativ e N . or is the fact one which is altogether to d be regrette , because , as Professor Paoli remarks , i d c the ant quate haracter of the Sienese paintings , separated as they are from every extraneous influ and and ence , full of simplicity spontaneity , is of do d itself extremely attractive . If they not se uce

the eye with pretentious compositions , if they show but little appreciation o f significance of d and form , if they sometimes isplay a narrow obstinate opposition to every novelty and to every

expansion , they nevertheless exercise upon the mind that strange and subtle fascination which is always felt in the presence of those obj ects and works of art which preserve a character distino tiv ely their own ; and we are forced to regard thoughtfully and reverently pictures so absolutely free from even the most inferential appeal to the and coarser passions of humanity , in which the sentiment of artistic religion is manifested with s e uch ingenuous fervour . Moreov r it cannot be d d eo enie that , in the works of such artists as Matt di Giovanni and Benvenuto di Giovanni (at his s find o f be t) , we beautiful pattern , manifestations a feeling for rich colour and a sense of sumptuous ness which give them a high place in the art of

the Quattrocento . Now in the Tavolette della Biccherna and della d and Gabella , mo est compositions frankly Sienese , the beauties of this school are far more obvious than its defects ; and among the artists who painted them were some of the most distinguished men Guido c c io C o z z ar lli . e of that age Such were , Mat di and teo Giovanni , Francesco Giorgio Martini who d d , even in this restricte sphere , isplays not a ble indications o fhis versatile and daring genius

while , last but not least , we have more than one — example of the work of Sano di Pietro Ansa nus 1 Petr i pic tor fa mosus et homo tatus deditus D eo — d whom Gaetano Milanesi , not without goo rea

son , praises above all the other Sienese painters f d o his day. Many he excelle in correctness of d esign , all in the religious feeling of his work ; and indeed the gentle virginal faces of his Ma donnas and the celestial beauty of his seraphim are such as to place him almost on a par with 2 the Blessed Fra Angelico himself.

Moreover , although the technique of the Sien 3 ese school had not yet felt the effects of the and Renaissance , the thoughts aspirations of the citi z ens had undergone a very sensible trans I t d formation . was a perio of revolt against all and d a and that was narrow me i eval ; , if mystic d be art coul still satisfy , it was only satisfying cause mysticism and sensuality are sisters ; and ”i in m olles Sena there was much corruption . I n

1 I I menti v o l I I a 0. D o . e G . M LANES , cu , , p g 39 ’ m t S a to a e a te to a na S e na ti . So o ull s ri d ll r sc ( i , p rd u i ,

- pages 5 0 5 1 . 4 Ev en t o e are I h av e no i ntentio n o fde pre ci ati ng it . h s who l east in symp athy w i th the Pri m iti v es admire the excell ent tech n ique o f the E arly Si enese m as ters w hich th ey h ad rece i v ed as a pric el ess m n t n i nh eri tance from Si o e M ar i i . 4 I t seems to me th at no o ne w ho has attenti v ely studi e d IVI AX ’ N O RDAU s D eg ener a tion c an w ell do ubt th at th e re is a disti nct and 5 5

its nobler aspects the XVth century was an epoch e and d of intense ffort of boun less curiosity , fruit ful of political changes and of renewed civic and

- C o m intellectual vigour . The relations of the mune with her neighbours were enlarged and extended far beyond the limits of Tuscany ; events and which took place in distant cities which , a cen d e d tury earlier , woul hav excite no attention , were d d d now consi ere as matters of consi erable , some times of vital interest ; the field of Sienese vision was widened until it comprised the whole Pen and t s dd ed insula , hu historical facts su enly acquir d a new importance . This change was early reflecte in the Tavolette ; representations of actual events began to take the place of allegorical and relig and e o ld ious subjects , long b fore the artistic tra d had e ition spent its forc , the new spirit of the Renaissance had introduced an essentially human

element .

e w ll nigh i ndissolubl e co nnecti o n b etween myst icism and sensuali ty . A v ery startli ng example of t his strange fact is to be fo u nd in the L a i i it a del Bianc a da Siena La 0 av e o te the ud sp r u li , ud 5 (I h qu d “ ” v e ses in est o n in m o abov e te The En am e o Fr a r qu i y w rk ci d , s pl s f F a c 2 l t m e n nstan e & . a es 8 e ano t e e o ilipp , , p g 3 whi h r qui d r i c ’ e sts in Ro sett B e e m ee the n l t ansl at o n o f xi s i s l ss d D a oz el . (S E g ish r i D e ene a tion a e 8 e t n g r , p g 9 , di io I t is mo reov er no torious th at in the XVI th and XVI I th centu “ ri es it w as preci se ly t hose w ho were i nfected by the sensu o u s ro m an e o f et sm the e st t o s es e t fo r sa aments and e e c pi i , sup r i i u r p c cr c r m n al b se v an es had been o t b th e at o l Rev v a o i O r c , which wr ugh y C h ic i l ” nto e stat enz w ho e e fi le t o e at v e ea n n s a te i c ic fr y , w r l d wi h c rr l i y r i g f r " — M na i an in ta A. Re ss e I sa e s eb au e . . SY cril giou d ch ry J ONDS , c ly,

Th e Ca tho i Rea t on Lo n on Sm t l e 8: C o . a t l c c i ( d , i h E d r , p r I ,

p ag e 3 2 8. There ar e 2 6 Tavolette belonging to the XVth 1 and century , namely 7 of Gabella 9 of

Biccherna . I n our consideration of this period we may class together the religious and allegorical sub jec ts . i t l ssa n Of the former we have a S. P e r o A e dr ina t M ic ha of and a S . el the Ar chang el 1 d of 444 , which are generally attribute to Gio vanni di Paolo ; a Pr esenta tio n of the Virg in of 1 4 84 by Guido c c io C o z z arelli; an Annunc ia tion 1 of 445 in the manner of Giovanni di Paolo , and S er ome in the deser t a t. j of by an Th unknown author . e head of the Saint is ex m l tre e y beautiful . Ofthe allegorical Tavolette the following are worthy of special mention : a Wisdom whic h ema

— ‘ na tes fr om God the Eooia COU (9661) of the — Epistles painted by Sano di Pietro in 1 47 1 and Gov er nment o Siena 1 a f of 4 74 , which , j udging ,

1 I n the c ata l o gu e o f 1889 thi s Tav o l etta is said to represe nt Sa n N o o da Ba i b ut t is as S no Lisini has s o n is ob ab icc l r , h , ig r h w , pr ly a m sta e . O n the 1 6th o v embe 1 0 the da e a te to San Pie i k N r 4 3 , y d dic d tro Al e san in the ov e nment o f the D o w as o v e t o n and s dr o , G r dici r hr w , in co mmemo rati o n o ft hi s ev ent a sol e mn annu al fest iv al w as de cree d ; l e a te a s in 1 1 to en e it m e s len a al o w as whi , f rw rd , 4 4 , r d r or p did p i t San P et o es an no w as t s a a nt o fso me m i naugura e d . i r Al s dri hu s i i por tan e in S ena and he was ea ta en b the te e l S ez al as c i , rly k y Ar d g i p i i t I n h e 1 0 th ama l n abella w as an t e o te o . t e a e C o h ir pr c r Y r 44 , r i g di G a t e a - Antonio di F a n e o s ez zale —and he nat al a se po h c ry r c sc , p ur ly c u d the cov er o fhis regi ster to be o rnamente d wi t h the fi gure o fthe patro n in A t Sa t of his r e . o ther ind c atio ns among _ i , by the exaggeration of the lines of the face runn ing downward from the e di nose , should be eith r a Benvenuto Giovanni 1 . av oletta 1 or of his school I n the T of 47 4, as 1 1 8 in those of 3 44 and 3 5 , the central figure H ds d is clad in black and whi te . e hol in his han a black and white sphere ; above his head is the word LI BERTAS which forms the inscription upon 2 one of the shields of the C ommune ; and start

ing from his face , as if issuing from his mouth , is

the legend KI BEN M I N ISTRA REM GNA . To his left sits the C amarlingo ; t o his right the Scrit tore The latter is making an entry in the book th d before him , while e former turns his hea to listen to the words spok en by the allegorical

figure . V di ery notable , also , is the Tavoletta Bic

1 o m a e e am l e the t ee t r es o f env en to in the C p r , for x p , hr pic u B u a e m a ell e elle t S anz —I s o l av e t a X n . 8 . Acc d i d B Ar i , , 37 , 3 , 3 9 h u d h been i ncli ne d to attribu te the Tav o l etta to Girolamo di B env enu to if h e had been o ld en at the e h en it w as a nte sin e ough p riod w p i d , c the m anneri sm refe rred to is so stro ngly marke d as to l ead to the in ’ e en e t at it s t e o of an m tato f r c h i h w rk i i r . 3‘ The three s hields which w e s ee ev erywhere blaz o ne d abo ut Si ena are 1 The ba lz ana the a t o l o e s el e eo the u e ) , p r y c ur d hi d , wh r f pp r a is te the lo e l L — l n th t n b a . e the she o s e s h lf whi , w r ck ik w lf uck i g wi , it e o s the o man o n o f the t r c rd R rigi ci y . 2 The az e s el t the o LIB in lette s o f o l ) ur hi d wi h w rd ERTAS , r g d , ’ nn n a o nall a o ss it T is o mmemo at v e o fS ena s c o n ru i g di g y cr . his c r i i nec tio n t a l m wi h Ch r e agne . The o n am ant the a ms of th e Peo le the Pa olo 3) Li r p r p , p ,

b e it o bse v e w as te st n t o m the o mm ne . which , r d, q ui di i c fr C u As to the l egendary o rigi n of these three dev ices the reader s o l o nsul t R I T a z ion i o o a i e le en e di nu Co h u d c ONDON , r di p p l r gg d

m ne me ioev a e e del suo nta o F nz ti ell n e C . 1886. c o e e . . u d l d , ir , p M C i i , 1 w cherna of 4 3 7 , hich seems to belong to the school of Giovanni di Paolo and of which the original is preserved in the Museum o f-Industrial Ar t at Berlin . H ere the Plag ue is symboli z ed in the form of a demon archer with the wings of

- a bat . H e is all black even to his skull like face , and r d a ' blac k is cove e with garment . From his belt hangs a scythe ; he is mounted upon a fu r io usly galloping black horse and is shooting ar d s . row as he comes On the groun , beneath the Of d d d hoofs his charger , lie the bo ies of four ea d r ed and and men clothe in bright raiment , green and b r the riz l violet lue , in sharp cont ast with g y a and shape bove them . The colours are brilliant d a c extraor in rily fresh . The arrows of the ar her are directed towards a group of six persons who are gathered about a table in the shade of a d portico . They are intent upon a game playe with — — three dice probably z ara and are completely d f in if erent to the approaching peril , though the w e air is full of flying arro s , one of which se ms d d d to be irecte towar s the groin , another to the neck and two to the armpits of various players those being the regions where the lumps or bu e fre boes ; so characteristic of the p stilence , most d e quently ma e their appearance . Thes swellings were often the seat of acute pain like that of a and as w e stab ; we almost expect , look upon the sud picture , to see one of the careless gamblers denl f d u y clutch at the af ecte part , ttering the while that despairi ng cry of the plague - stricken with

— 60

i a i to d S l c e of Bologna . The frightful rapi ity of the spread of the disease appears to be indicated by the fact that the archer of the Tavoletta is ao tuall t y outrunning and over aking his arrows . Almost more notable than the Tavoletta j ust d 1 68 describe is that of 4 , in which Professor M ussini sees the manner of Francesco di Giorgio

Martini , but which Mr . Berenson , as I think di mistakenly , attributes to Benvenuto Giovanni . Peac e a nd Wa r d I t represents , not from an i eal d- d stan point , but as they woul appear to a min ister of finance having regard to their economic A 6 1 8 . consequences . I n pril 4 , Po pe Paul I I succeeded in bringing about a general p ac ific atio n w d d t of Italy in hich Siena was inclu e . The even d and was celebrate with great public rej oicings , in f d memory thereof, the o ficials of Gabella cause we this Tavoletta to be painted . To the left see a group of citiz ens who receive money from the r public treasu y , while above them hovers Peace , a nude female with an olive bough in her hand and d /E a A the legen H c (p x ) CI VES DI T T. To the right are soldiers of fortune to whom the Camarlingo d d d ten ers their pay . Overhea is War arme with d and m EXTEROS HO C bellu . a swor , the motto ( )

1 I n the precedi ng year the ci ty seem s to h av e been greatly af fli t d b ea t a s Ex znde an no z nse uentz 1 Pesti in ens c e y r hqu ke . q ( 437) s g s ztatem ac Re ianem am em znv asit z ta u t a ne a is c zv zbus g u , p su ' dzser er etu r Ex ua a t m es t u i r a zn a? “ ta u a m lu mma er . q f c u p C5 fur q p p e e v a c uam s itatem c ammitte r entnr a c et a m a a s u br z er en f r , i s cr p

' ‘ tu r See the s tor za Senens zs in M URA I O RI Rer . I ta . , lic XX ad a nn m S t . . crip , , u — 61

Not a few allegorical Tavolette - are c o nse d V Advoc a ta Senen crate to the irgin Mary , the i inm 1 1 s . Of these the earliest is that of 4 5 , which is also interesting as forming a connecting link XIVth with the portrait Tavolette of the century , d C representing , as it oes , the figure of the amar

di di . lingo Biccherna , Ghino Pietro Bellanti To the left is the Madonna spreading her mantle over

the city , while to the right we see Misser Ghino d d in the act of washing his han s in a basin , assiste by an attendant who pours water over them out Consi lio of a j ug . In this year , by a vote of the g del Pa olo th d p of 9 July , it was resolve to once Camarlin hi more substitute ecclesiastical for lay g , and no doubt the last of the secular officials de sired to indicate that he retired from his admin ? istratio n of the public revenues with clean hands

Much more important is the Tavoletta of 1 467 . d I n this , as in the prece ing year , the city was d grievously trouble by earthquakes . The chron ic ler Fec ini e 1 66 a di Tommaso r lates that , in 4 , x v ag osto inc ominc ia r ono i tr emuoti in Siena e seg uita ndo og nuno fa c ev a g li allogg iamenti per te ’ iaz z I n d tti di i P e. e s fe u na bella p r oc essione di

1 The V n en o e a s e al l t in S ena had been irgi j y d p ci cu i , which e ate to her in 260 Th m n fthe C mm w as n d dic d 1 . e o ey o o une i scribed wi th the l ege nd SENA VEr v s CIVITAS VIRGINIS ; and the au tho r o f L a c itta dzletta di M a ria d ecl ares c he no n sia giudiz io temerario il ” iudic ar ste a a in t l n av g Mi ro di M ri utte le co se del po po o se ese . I h e treate d the s ubje ct at l ength in my Ou r La dy of Aug ust a nd the Pa ti o o Siena S ena n o To n and to t at work I f ( i , E ric rri i , h e e the a r f r re der . See a es 1 - 20 p g 9 supra . c endo : UI HA B TA T I N ADI VTO RI O A T M Q I L ISSI I . E durar ono ta nto li detti tr emuoti c he per li di sag i si c olse m olte infer mita e mor ir ono molte per sone da bene The same facts are narrated in ” in the H istoria Senensis published by Mura i XX . I tal c a um tori in vol . of his Rerum r Scrip Ter r x motus in entes hoc a nno uer e ui tores g f , q c ir c a A u usti mensis nem inc i ientes er dies g fi p , p v i inti er dur av er e ta nto mor talium ter r or e u i g p , , in la teas lur imi dor mita m ex ir ent ita u i r o p p , p incommodo ulti la n uor ibus a t m g fi c er en ur . Of the following year Allegretto Allegretti 2 2 nd da A records that on the y of ugust , the 1 o f same being Saturday , at two hours night , there was a very great earthquake which was e followed by others less viol nt , on such wise that every man departed from his house ; and the folk z z and d betook themselves to the Pia e to the gar ens , abiding there as best they were able ; and they made many booths and tents and houses of wood; And and often there came great and little shocks . on the third day of September there was one so w d d and great that all men ere ismaye thereat , two of the coats of arms of the battlements of Uffi z iali z d the della Mercan ia , which were towar C Go d the ampo , fell , but , thanks be to , no man No w d was hurt thereby . many eem that these earthquakes have befallen by reason of the great

1 A a e ue di notte —S n e at the end o fA s t the su n sets r d . i c ugu ’ “ m o at abo t sev en o l o tw o o s o fni ht w o be . . a u c ck , h ur g uld 9 p cc rd in to o ur e o n n g r ck i g . d and heat which hath been for ivers months , by reason of the great drought in that never hath it rained others say that this thing hath come upon ” us for our sins , the which is more believable . N aturally , in such straits as these , the Sienese d aid and 6 turne for to the celestial powers , in 1 4 7 di d Francesco Giorgio Martini painte , upon a Ta di the M a donna r otec tin the voletta Biccherna , p g — City of Siena in the time of Ea r thqua k es AL V de TENPO D E TREM VO TI . Here the irgin is

i o d while r ound pi te on high , among the angels , about the city are erected those Tr a ba cc he e Pa dzglioni e Case di leg na me of which Allegretto A and d d d llegretti speaks ; in ee , if we may cre it d the story tol by Girolamo Gigli , the Sienese undoubtedly owed their deliverance to the direct v o uc hedsafe had interposition of heaven , after they appealed for help to a miraculous Image of the Great Mother of Go d which at that time was V d . manifeste near iterbo in an oak Wherefore , in e d Sept mber when the earthquakes had cease , th e Signoria sent twelve of the principal citiz ens with a votive offering a lla mir ac olosa I mmag ine della M a donna della uer c ia in Viter bo and Q ; , fo r a perpetual memorial thereof, a picture was

' d the Palac e o f painte in hall of the that town , representing the twelve Sienese humbly kneeling ff V to o er their city to the irgin . Below is the following inscription : I nc lita Senar um ur bs c en tenis sex que d enis dir is ter r em otibus pla ne libe r a ta r a ta et ia illins Res ublica miss is huc g p p , v oti c ausa r ocer ibus su is m eh sam a r entea m s ue , p g u r bis Efi giem r efer entem huic D eipar a dono da t : sa lutis a nno

. I t may possibly be of interest to note that , del even as I write , the picture of the Madonna V d oto , she who hearkene unto the people of Siena what time the Florentines were routed at d D Montaperto , stan s unveiled in the uomo , in order that through her intercession the rain may

. d cease For weeks , ever since Siena was elivered into the hand of Satan by reason of the order which we nt forth for the demolition of the C o n C e vent of the appuccine , there has be n an almost d uninterrupted downpour . Rome is floode for the d e w tremb our sins , and goo Sienes watch ith ling expectation the workman who first struck his d d for d impious pick into the sacre e ifice , assure ly the wrath of Go d must smite him and he will d d d n d fall ea su denly . Only this morni g (Sun ay , 1 6 was L d d and February th) our a y unveile , now , as I lay down my pen at midnight and open my d dvoc a ta an . A window , I see free sky stars The Senens ium r e e is as powe ful as ev r , or the pri sts who serve her are singularly good j udges of an w approaching change of eather . Another Tavoletta of the same cl ass is that 1 8 z e of Gabella of 4 9 , wherein five citi ns (probably the Camarlingo and the four Esecutori) are rep

1 m c LI D ia io ene e se o n e t o n v o l. a . 1 82 . C o , r s s ( c d di i ), II , p g ’ ’ a e the same a t s La c itta dzletta di M a za S ena ti . all n p r u hor r ( i , p i - se na Santa ate na a es 2 6 2 . g di C ri , p g 7 “ resented as kneeling outside o ne of the gates

d the . of Siena , cla in garb of penitence The

Virgin approaches them bearing in her arms . the i d nfant Re eemer , whom , by their gestures , the five

appear to be entreating to enter their city . From the action of her hand and the way in which her d e face is turned towar her Son , it is evid nt that the Divine Mother is seconding the prayer of the N d suppliants . or can the result be oubtful ; the baby arms of the Christ are already extended to d war s the gateway .

And e now , although we have by no m ans exhausted even such of the allegorical and re ligio us Tavolette as refer to the Madonna in her

' Advoc a ta Senensium m a for character of , we y, the

moment , turn our attention to the historical sub ec ts e d c hro nolo j , since , if these be tr ate in their g d m e ical or er , almost all the or important of the alle or remaining Tavolette , whether religious or g d ical , will be foun to assume their proper places

in our pictorical chronicle .

The two greatest names which are connected with the history of Siena during the XVth cen d d un ues tury are , if we exclu e San Bernar ino , q tio nably those of the Emperor Sigismund and of [E neas Sylvius Piccolomini , Pope Pius II . 1 2 d In 43 , the former halte in Siena on his way to Rome and passed more than ten months there while he negotiated as to the terms of his — 66

d coronation . H e receive a most princely welcome and his personality seems to have made a deep A impression upon the Sienese . t any rate his portrait appears upon the Cathedral Pavement i t . C where is , as Mr ust observes , the only picture wh ich is neither biblical , symbolical nor ” 1 d and d heral ic , his coronation at the han s of E V 2 1 1 d ugenius I . ( May 43 3 ) is epicted in the Un earliest extant Tavoletta of the century . fortunately the left hand portion o f the painting is greatly damaged and we are unable to see the knights and gentlemen who formed the retinu e of E — n the mperor amo g them , perhaps , that same Eurialo whose loves have been so vividly described — for us in the Stor ia di due Ama nti but the face and of Sigismund himself is sufficiently clear , it may interest the visitor to Siena to compare these two contemporary presentments of him with the following description from the facile pen of I Eneas Sylvius Piccolomini : Fu it a u tem Sigismundus eg r e ia s ta tur e ) illus tr ibus oc ulis r onte s a c iosa e g , , f p , g nis a d r a tia m r ubesc entibus ba r ba r olix a et c o g , p The rest of the passage I om it as it refers rather to his intellectual and moral than to his physical characteristics ? The Tavoletta which I have j ust mentioned is of Biccherna and was painted in 1 43 3 . In

1 H H The Pav ement bl aste s o Sien a L n o n R . . U . C ST , r f ( o d ,

eo e e l 8: S n a e 6. G rg B l o s , p g 7 The ent e assa e o et e t a t ansl at o n be n ir p g , t g h r wi h r i , will fou d ’ HTO N S H sto o the Pa a Lo n o n o n in the ate D r . C REI C l i ry f p cy ( d , L g - mans een 81 C o . v ol . I I a es 1 6 1 . Gr , , p g 3 3 7 n - had ewly elected Pope , he carried the cross at his coronation (1 8 March At the time the Tavoletta was painted a Piccolomini was o ne of and su ‘ the Provveditori , it was probably at his g gestion that the officials of Biccherna thus com m emo rated the honourable part played by their

- z fellow citi en upon that occasion . N d C In 1 45 5 icolas was succeede by alixtus III . Less than two years before C onstantinople had f d and allen into the han s of the Turks , the new Pope was filled with a devouring z eal for p ro sec ut ing the war against the infidels He solemnly d w d committe to riting his inflexible etermination . e C A and I , Pop alixtus , vow to lmighty God the war d H oly Trinity that by , male ictions , interdicts , and excommunications , all other means in my the power , I will pursue Turks , the most cruel ’ C e foes of the hristian name . With this obj ct in C view alixtus III . sent legates to every country " 1 to quicken the z eal of Christendom ; and in Fec ini us a Siena , as the chronicler Tommaso tells , ’ di v d ap r ile fr a te Giova nni di Sa nta Spir ito p er ’ c oma nda mento di a a Ca lis to e ar e in tr e di p p f f , ’ div ote r ocessioni e e ves tir e di bia nc o a nc iulli p , f f e fa nc iulle c on c r oc i r osse in petto e ghir la nde ’ d oliv o in testa e il ter z o di ster no c hiuse te butti

’ ’ g he e i Padr ini c o lor o popola ni e c on lor o e vestiti a bia nc o della lor o Pa r r oc c hia tutti per te per do na nz e e il tu tto per c he il tur co non pr osper asse .

1 t l. a 1 80. I o i . G . c v o e CRE HTON , p , III , p g Of this incident we have a record in a Tavo 1 letta di Gabella of 4 5 5 by an unknown artist ,

the Annuncia tion . d representing On high , seate d d upon a clou , with her arms meekly crosse upon O her breast and with an pen book upon her knees , V e A L d is the irgin , whil the ngel of the or bows d : before . her , as he pronounces the wor s Hail , d and thou that art highly favoure . On the right d on the left stan gigantic figures . That to the

. C r left is St Bernard of lairvaux , whose father pe ished d and in the first crusa e , who himself, after

Ed d d . the capture of essa , preache a secon holy and d d war , by his marvellous eloquence kin le anew the crusading madness throughout France and C n Germany . To the right is Pope alixtus i o ntific al ac t th p robes , in the of blessing e kneeling d and d d e multitu e of youths mai ens , clothe in whit , i red d and w th crosses upon their shoul ers , olive d garlan s upon their heads . It is curious to note that Siena possesses and another picture of this Pope , that there , as in d of the Tavoletta , he is represente in the presence our Lady who recommends her beloved city to hi s care . On two scrolls are written the words spoken by the Virgin and the reply of Calixtus

' O PASTOR D EGNO AL MIO POPO L C RI STIANO A TE DI SIENA ORMAI LA C VRA REND O FA C H ALLEI VOLGA OGNI Tv o SEN SO HVM ANO

VERGINE MAD RE A DI O C A RA C ON SO RTE SEL Tv o C ALI STo E D EGNO A TAN To D ONO S TO RRAM M I LTR C HE RT A IENA NON A O MO E . Below we see a number of mules entering the d gates of Siena . They are loa ed with grain sacks d Balz a na A marke with the . t the foot is the legend CALI STv s II I SAs P ETRI DE S EN IS

N X T . P I I This picture , which was formerly in the z z ee A Pala o Pubblico , is now to be s n in the cca

d e A z I V 11 . emia delle Bell rti (Stan a , We may j ust mention a Tavoletta di Biccherna o f1 di 45 7 by Sano Pietro , symbolical of the peace made between the Sienese Republic and the Count I ac om o and Piccinino , pass on to the three Tavo

lette which refer to Pius I I . 1 60 Of these two belong to 4 , while the third

was not painted until the last year of the century . I n the first is represented the Cor ona tion of ius I d e P I . fin the secon we see the Pop invest in w e To desc hini w d g his nephe , Franc sco (after ar s w d ’ Pius ith the car inal s hat ; while , in the Ca ther ine 1 d St. Tavoletta of 49 9 , which epicts d r ec eiv in the Sti ma ta . g g , Pius I I appears seate in a n alcove and holding in his hand a scroll with T the legend STI M ATA PA SSA FVI . By her canon

iz atio n (June 1 4 6 1 ) he gratified his love for Siena . |

H e tells us that he dictated the Bull himself.

Assisting at the Cor ona tion of Pius I I . is the V i . irg n The Pope , a pathetic figure looking w and d d eary feeble , is seate between two car inals

w ho set the tiara upon his head. The painting d di is generally attribute to Giovanni Paolo , but

V . Mr . Berenson believes it to be a ecchietta I t

is probably a portrait . Within two circles , in the upper corners of the Tavoletta and occupying the and d space to the right left of the Ma onna , are to be seen the Imperial Eagle and the blended — arms of the People and the Commune the Ba l z a na d th an the Lion . Below the picture of e cor o natio n d w is the city of Siena , outsi e whose alls ae - e d d and d prowl two chim ras , lion h a e ragon d d d z d taile , possibly inten e to symboli e the angers to which the popular government was exposed by the elevation to the Papacy of a citiz en so hostile to the exclusive predominance of the bour i is lv iu geo element as was [Eneas Sy s . I t would be irrelevant in this place to discuss the affreschi of Pinturicchio in the Libreria del Duomo but it is perhaps worth while mentioning that there is another picture of Pius I I . , which connects itself with the Tavolette since it was painted in the office of Biccherna in the Pala z z o

Pubblico . It is a work of no artistic merit , but it represents the great Sienese Pope as we like to think of him beneath the chestnut shades of A Monte miata . 1 We now pass to the year 47 9 , when , after z V z P I . the failure of the Pa i conspiracy , ope Sixtus having leagued himself with Ferrante of N aples and d d with the Sienese , the allies inva e the Flor entin haV d e territory . We e one recor of this campaign in the Sa/a del M appamondo of the z z e di A d and Pala o Pubblico , wh re Francesco n rea

1 M A L I H t i See LAVO T o a a te lib . I V . 60 et _se . , is r , p r III , , c q Giovanni di Cristofano painted the affresco of the i victory of Poggio I mperiale ; while a second is to be found in that Tavoletta di Gabella which represents the triumphal entry of the allied army ’ C di Val E into olle d lsa . At lorentines fled Poggio the F had lik e sheep . ” " N A b efel ever , says mmirato? any rout more d d astar ly than this , in that scarcely was the battle ” d d and fled j oine when our folk turne . But Colle d d and ma e a gallant efence , women men alike fought in the breaches which the cannon of the had d and besiegers ma e in their walls , four times d w they repelle the assailants ith great slaughter , “ d d so that , besi es the ead , the number of the wounded and maimed was such that of a surety ’ 3 all the hospitals of Siena were filled with them . When they were no longer able to defend the Co fire and Borgo , the lligiani set it on retired into the C astello where they held out until the dd 1 2 d mi le of November . On the th they agree to surrender if the Florentines did not succeed in raising the siege before the night of the 1 4th . N C and 1 d o help ame , on the 5 th the allie army d entere the city . The following passage from the Chronicle of Tommaso Fec ini will serve to further illustrate the event : A di x x iiij s i pose c a mpo a

1 menti er la t i del S. G I e L . I N ov i o o a BOR HES BANCH , u d cu p s r ’

a te sene e S e na To n a e 2 26 . l r s ( i , rri i , p g M M I I t e Fl ent n nz Bat lli o e F e e e e Co . A RATO , s ori r i ( ir , , to m . V a e 2 0 , p g 4 . 3 ' I b . a e 2 6 id , p g 4 . ’ ‘ olle di Valdelsa e li v a nda le bomba r de e essi C , f uno bella e g r a nde Ca mpo et er a for nito et a bban ’ ‘ o a lie I n oc hi di s a osso il Bar o da nte di v ett v g . p fl g di sopr a e la I ndiav ola ta (the name of one of the d ac eva r a n la ella di c ase le due bombar es) f g f g , v olta A di x di N ov embr e a x or e e tr e per . ii j ‘ ’ sono a lor ia c he Colle s er a da ta a a tti tr e g , p , ’ 1 e l aliv o e ess i r a n t di e a x v v enn f g fes a . This war was brought to an end by the peace A D f 1 1 80 . e O of 3 March 4 Thereupon lfonso , uk C who had d d alabria , captaine the allie forces , attempted to make himself seignior of Siena The Nov esc hi favoured his pretensions and many of d d 2 2 nd the people si e with them . On the of June ’ and d D they rose in revolt , aide by the uke s sol d z d iery , reorgani e the government to their own D d advantage . ivi ing the power between their two d N ov e and d or ers of the the Popolo , they exclu ed the Riformatori and replaced them by a new and e d d A r e a ti c om h terogeneous or er style the gg g , d of 1 6 z Of pose nobles , exiles of 45 , and citi ens d had other or ers who never before been in office . ’ It was a year of turmoil and uncertainty ; m en s e ed and h arts fail them for fear , none knew what d the morrow might bring forth . To this con ition of things we owe the Tavoletta of Gabella which represents the Virgin recommendi ng the troubled city to the tender mercies of her Divine Son

1 ’ As to the Feste enesi er la r esa di Co le d Elsa see the s p p l , ’ ai ti fF B I I - I M I I e c le o . P in the AI isc ellanea star zc a s nese AND N CCOLO N , v o l I V a es 1 2 - 1 2 . p g 9 3 . d (Plate VI) . She is depicte as kneeling before a d d miniature Siena raise upon three columns , aroun d which she raws a rope , the ancient symbol of d Her w and civic concor . face is singularly s eet d youthful . I n her right hand she hol s a scroll upon which is inscribed the legend HEC EST CI V I TA i d d s c M EA . Re ( ) Overhea , among the clou s , the d d eemer ben s forward to receive her prayer . O Mr . Berenson is of pinion that this picture is the work of Neroc c io di Landi ; Signor Lisini d attributes it to Francesco i Giorgio Martini . Three years later the Nov esc hi“ were deprived and of the government , , under colour of a gen ac ifi c atio n d M onti eral p , all the Or ers or were

reduced to one only called del Papala. To give a religious sanction to this fact Siena was dedi c ated to the Virgin according to the ancient ritual and the keys of the city were presented to her D d in the uomo . This ceremony is depicte in a di 1 8 V Tavoletta Gabella of 4 3 , where the irgin is represented as leaning forward to receive the

keys at the hand of the Prior . Beneath the pic ture and above the coats of arms of the officials we read the following inscription APREXENTATI O NE D E LE CHI AV I OVA N D O TVTTI E QVATRO E M O N TI ’ did s ADVSSEN o AD VNO . But not for that civic d d e and iscor ceas , , at last , things came to such a s A A d d pass that , a llegretto llegretti eclares , goo men were not able to speak nor to blame that d the which was one amiss , because government was in the hands of certain lewd follows of the

E V I PLAT .

75 ‘

alc uni o olar i di mala v ita al baser sort ( p p ) who , few beit they were but , were more powerful , few a nd z evil as they were , than the other citi ens d and Lisini who were goo ; this , as Signor wh 1 8 s uggests , may be the reason y, in 4 5 , the o fficials of Gabella caused a Tavoletta to be painted Sa c r i c e o I saac e with the fi f , since , in thos years and of suspicion violence , the selection of any subject which could have been twisted into a p o litic al allusion might have been fraught with some danger . In 1 4 87 the No v esc hi returned glorious and triumphant with Pandolfo Petrucci at their head. They easily dispersed the few adherents of the Popolo who offered resistence ; the Captain of the and r e People was slain , the government was z d organi e . The public books record these events as being brough t about p er g r a tia di D io et della s ua g lor iosa m adr e Verg ine M a r ia s ignor a di 1 uesta c itta and s o q ; , for a memorial of auspicious the d d an occasion , conquerors cause to be painte upon a Tavoletta di Gabella a ship bearing the and C arms banners of the ommune , which the V d d and d d irgin , cla all in gol surroun e by cherubs , guides with her hand upon the bowsprit into the still waters of a haven beside which rise the walls and And towers of Siena . so , with constant change , we see the celestial patronage adapt itself to the

1 A . I STATo I I n r t S D elzb . del Consi io e e a e e a RCH D N ENA , g l g d ll c am an a del 2 — m P I D el m a zstr ata di o 1 8 . a e C . p 7 lug li 4 7 Co p r AOL , g Ba ia ne a Re bb a di Sien a S ena Bar ellini a e 2 2 l ll pu lic ( i , g , p g d pleasure of opposing factions , accor ing to the

d . o f temporary pre ominance each . For nearly a quarter of a century Siena en joyed peace and prosperity under the domination d of Pan olfo Petrucci , a great and able statesman , and who , if magnificence be not merely physical and sensuous but rather intellectual moral , richly d d it M a ni eserve his title of g fi c o . He left the d and establishe forms of government intact , if he d d d acquire espotic authority , acquire it only by virtue of his strength of character and the con tinual n i crease of his personal influence . Fate called him to play his part upon a narrow stage and d d d d to a limite au ience , but he isplaye qual ities which might have graced the mightiest mon A z d arch . bove all he fully reali e , what is often forgotten but what is in fact axiomatic , that the first duty of a ruler is to rule ; and he was virile enough not to shrink from bloodshed when it was necessary for the preservation of his authority . That he should have displayed an over scrupulous respect for the lives of his enemies would have d stampe h im as a man of another age , born out of due season ; and his early life had not been d d such as to soften his character . Un oubte ly the instinct of self preservation had much to do with his inflexible determination to suppress 0p i d posit on at any cost , but it was probably combine d with higher motives . The mur er of his father in- N o law , iccol Borghesi has often been spoken of as a serious blot u pon his fair fame ; 7 7

but I submit , on the contrary , that it may be

fairly regarded as a deed of the highest patriotism . d Pan olfo was not naturally cruel , but he knew only too well that nothing but his seigniory stood between the commune and the old chronic con d d - fi ht ition of wil , whirling faction g which was rapidly reducing Siena to impotence and making — 1 her a by word throughout the world. There N o d fore when iccol Borghesi conspire against him , N d iccolo Borghesi had to be remove . That the method adopted for his taking off was the dagger of the assassin should hardly be allowed to affect d d and our ju gment . In those ays even Popes Cardinals were far from being squeamish about such matters ; and certainly no man could hope to effectually serve the State unless careless of j ustice or inj ustice , of mercy or cruelty , of honour d d or isgrace , he was willing to save his fatherlan ” 2 rather than his own soul . N or (pac e Burckhardt) are we without some

reason for believing that , even if Pandolfo was he e d not such a patriot , at l ast as nearly approache d that high i eal as any man of his time . At any 3 d and e rate the question is isputable ; , in vi w of

1 See fo r e am l e the o ten o te statement o f P I I PP , x p , f q u d H L E DE ' M I M em air es liv d m F C r . a an I V . a e O NES , , III , ch p 3 ; co p r ALLETT FO SSAT I Pr in c z ali a e e a c a ta e a Re bb a ene e te , p c us d ll du d ll pu lic s s , ci d

s upra . m a e [1P in i e fN l ll B o o o o a av e e te b L . A. U C p r r c p icc M chi i , di d y RD P O a en n es a e 26. ( xford , Cl r do r s , p g ’ 3 ee a es 1 6- 1 62 o f M O NDO LFO Pando o Pet S p g 5 U . G . S lf rucci

S ena ti . C o o e at v a e e the a u ments o n bo t s es o f ( i , p p r i , wh r rg h id the est o n are m a t al s n t state . qu i i p r i ly , if ucci c ly , d the widely different estimates which have been d forme of his character , it is especially regrettable that the Tavolette which are referable to the period d of his omination have , with one exception , been d d 1 estroye or lost . Unfortunately also that one remaining Tavoletta throws no light whatever u d pon the questions at which I have hinte . In deed it is not even certain what historical event d d . 1 8 it is intende to commemorate Painte in 49 , it depicts a group of horsemen entering Siena C am ullia by the way of the Gate . They have d Anti or ta and the reache the p , majority of the company are opposite the little church of San Bernardino and the no longer existent Oratory d of San Sepolcro . I n the istance is to be seen th D e uomo . Formerly it was supposed that this picture d d Entr o ar l s was inten e to portray the y fCh e VI I I . into Siena and d , , in fact , it is so describe in the C 1 88 d atalogue of 9 ; Mr . Berenson , in the in ex to his Centr a l I ta lian Pa inter s of the Rena issa nc e? calls it the Entrance of Emperor Frederick into d Siena an obvious absur ity , in that that event 3 took place little less than half a century earlier ;

1 Pe e o a Tav o etta abell a o f 1 o n w w as cci r c rds l di G 495 , hich t n o f t t at o f nte l ano e e the o nst t a o e b . d pic d c ruc io f r r ss , possi ly h Mo pu ci

I t has o ev e n n e a ea e . , h w r , lo g si c dis pp r d P age 1 44 . 3 l W n t e enso n as a Gani aliel I am p erfec t y illi g o accep t Mr . B r T e he S ea s t a t o t m st ho w in matte s ar t . e . r of h r p k wi h u h ri y I u , ev e am the ea e t at his es t o n o f t e are me el r , r d r h d crip i pic ur s which r y

— 80

who to the sound of many instruments of music sang these verses with a sweet voice :

I nc lyte Franc o r um Rex inv ic tissime regum Un C hr istic o lae e et fi duc ia n ica sp s , ge tis I n redere et F sub eas M oenia sac r is g , elix mea , Aus ic iis nam te libens v ultu ue n p i psa , q sere o i i f i U b m ea ac c o el c ibus an c oe tis . r e p , nuo p ” C mmi n d o c to q ue tibi Se no num e nom ine Senas .

e d w Is it possibl to oubt , in vie of the topo graphical details which distinguish the Tavolette e d d of this period , that , if the pictur un er consi er ation had been intended to represent the entry V d d C . we of harles II I , should have seen epicte ’ r a nd ar c a tr ion a le the g f , and the Magistrates of the Republic sitting in state ?

It only remains to call the attention of the d 1 rea er to a lovely Tavoletta di Gabella of 47 3 , re the work of Sano di Pietro (Plate VI I) . It

presents the marriage in Bologna . o f Count Ro d d berto Sanseverino , the celebrate con ottiere gen ’ L ez d A M alav olti eral , with ucr ia gnolo , perhaps the most beautiful and accomplished lady of her w d day . This picture , hich was painted , no oubt , A M alav olti at the suggestion of Misser gnolo , the d who father of the bri e , was in that year one of E di e r e the secutori Gabella , is full of figur s

' markable for eleganc e o f design and freshness of

colour . I t amply repays careful study if only for the light which it throws upon the fashions of d the perio .

As Mr . Berenson j ustly observes , the art of Siena exhausted itself in presenting the ideals and feelings of the Middle Ages ; but before the XVI th century opened the o ld yearnings ceased to vex the minds of men and the old ideals failed d . E d to charm . ven Siena coul no longer be satisfie So with the few painters who remained to her . d d L d Pinturic oma was summone from ombar y ,

‘ and and chio , Signorelli Perugino from Umbria “ Fra Paolino from Florence ; and as there were no f e forces at home to of er suffici nt resistance , there resulted from all these mingled influences a most — singular and charming eclecticism saved from and the pretentiousness folly , usually controlling e and such movements , by the sense for grac beauty ” i even to the last seldom absent from the Sienese .

This , however , was in the first half of the century . The fall of the Republic synchroni z es very closely

with the death of true art in Siena . What genius for painting remained when Girolamo del Pacchia (1 47 7 Domenico Bec c afumi (1 4 86- 1 5 5 1 ) and Baldassare Peru z z i (1 481 - 1 5 3 7 ) had done - d d their work , was an after bloom rapi ly ten ing d to ecay . d d If, however , regar e as works of art , many of the Tavolette of the XVI th century fall ter r ibly short of the standard of excellence attained

1 . o . c z t . a es 6 68. B BERENSON , p , p g 5 , by those of earlier times , they at least make up

in quantity what they lack in quality . There are - and thirty two of them , the last Tavole of the century are measured by feet and yards rather

than by inches . Still , especially at first , some of d d them are far from being evoi of merit ; while , d d d regar e as historical ocuments , they continue to be of the very first importance until the sur f render o Montalcino in 1 5 5 9 .

e 1 w C V . From the y ar 49 4 , hen harles III ed A and d cross the lps , instea of encountering a d d and - d e etermine well concerte r sistance , was d w receive with an enthusiasm hich to himself , and d u nac c o unt to his followers alike , appeare the t able , the fate of various petty s ates of I taly d d was seale . Henceforward they were estined to be used as pawns in the great game played and and between France Spain , like pawns to d d be sacrifice without regret . Thus , uring the XVI th century , the history of each little Prin c ipality and Commune is no longer of its o wn and d d d making ; , if we woul un erstan the last

fifty years of the Sienese Republic , we must not only look beyond the walls of Siena and beyond old d her rivalry with the hate Florence , but even An beyond the bounds of Italy itself. example of this condition of things is to be found in the circumstances which brought about the Battle of — Cam ullia the subjec t of the first Tavoletta which claims our attention ; for it would be worse than

nd a swept irresistibly into the hostile camp . There w as d e no iscipline among the b siegers and , com letel sur ise p y taken by p , they broke and fled dd a bandoning their artillery . So su en and com plete was their disc omfiture that Vettori declared that the Battle of C am ullia appeared to him a fact so extraordinary and portentous that it recalled the victories of the Old Testament when Jehovah himself spread panic- terror among the enemies of

? l d his chosen people . N or were ivine manifesta d w tions wanting . Warriors clothe in hite raiment were seen fighting on behalf of the Sienese : the picture of Our Lady above the great gate of C a m ullia was illuminated with an unearthly radiance ; 1 2 60 the V and , as in , the mantle of irgin , in the d d and form of a clou , sprea itself over the city

the combatants . As I have mentioned elsewhere? a remark able record o fthe battle exists in a contemporary

painting preserved in the Church of San Martino . en There we see the gate with its fortalices , the c am m ent d and p of the besiegers , bands of sol iers z and of citi ens , cannons of various strange forms , and - huts , banners , even the female camp followers , d i d . m half nake and terrifie For the rest , the

1 I h av e been u nabl e to fi nd thi s p assage in Vettori and qu o te P es o R I o se Siena n el s e it o n the a t t o f . u hori y rof s r G ONDON , wh o X VI b e in La v z ta z ta lza na nel C n e ento l an Fra col (pu lish d i qu c , Mi o , te T ev es 1 8 is as t e e and o e l a na at v e as o ne lli r , 97) pic ur squ p w rfu rr i

wo uld desire to read . 2 E To r O u r L a o A t a nd the Pa tio o Siena S ena . dy f ug us f ( i ,

n a e 8. ri i , p g 7 prudence of the Florentines and of their allies d s and had merite no better uccess , their generals no one but themselves to blame if they were held up to ridicule in the songs which the children sang about the streets of Siena after the victo ry ; j ust as to -day they improvise and sing verses to celebrate the contest which sends the Palio in c ontr ada triumph home to their .

e c o nto n di t an Qu l Pi igli o , M an iafi c hi b fa a g u l io , Si a m o m t ribbiano r p ri a col , ’ E po i fece un grand abbaio .

’ Que] ve ntron dell Anguillara Si fuggi come un poltrone

Ci s c o rger an per M euc c i a a Fio rentini ec Quei P p l ci hi , a s me Rob e o i M s i rt Pucc , ’ C o mm essar de fe e c rri v c hi , Si f i a de t e ugg n i s cchi , ’ era u di mem a Ch scito ori , E narro la gran Vittoria 1 el n a i a Fi r n ini S1C (p co tr r o ) o e t .

C amullia t Such was the Battle of , the subj ec the di 1 2 6 e of Tavoletta Gabella of 5 , a pictur which well merits attentive study by reason of its d is f topographical etails . It possibly the work o the same Giovanni di Lorenz o Cini who executed d the painting in San Martino , above referre to ,

1 See the M emo ie sto i o - iti ize e a c ittd di iena o f A r r c cr c d ll S G . . P I a t 2 a e 2 0. ECC , p r II , p g and who is said to have himself taken part in A s d So z z ini in the fight . Originally , as le san ro 1 us d d forms , the following legen was inscribe at the foot of the Tavoletta : RO M A SI LE I AM F Lo RENTEM LLVM VE ET M A GA N VM C LE EN TI S . EG T Q . Q L . PERDO M VI SSE DVC Es V TO A 1 8 I C RI ; but , in 7 5 , both the inscription and the coats of arms of the Esec u d and d bar ac c o tori were erase , a hi eous scroll was s h w e t e . ubstituted , bearing motto which still see

I n a city like Siena , Ghibelline and Imperial d V a C . o by immemorial tra ition , harles naturally d q uire an authority which , though nominally ex e rc ised only for the protection of the so -called f w as d ree government , in fact a thinly disguise a d bsolutism , His counsels were really comman s , a nd he sent his orators to reform the state and t o share the government with the magistrates o f N did the Commune . or Siena resent his ‘ d E interference . She glorie in her mperor as in her strongest and most loyal paladin ; and it ’ w as said that her citi z ens even in their mothers w ombs had upon their lips the name of Caesar . 1 6 C d When , in 5 3 , harles visite the city , he was received with almost fren z ied j oy ; youths of ancient lineage embraced and kissed the legs and of his horse , the highest magistrates of the d Republic bowed before him in the ust . Their a d d ulation may have been excessive , but it is har

1 D za r za a e 20 . , p g

88

d sail , fastene to a leafless tree as to a mast , an obvious allusion to the names of the imperial d reformers . On a jagge mass of rocks , near enough to make the escape of the fortunate mar iners d appear in eed a narrow one , are to be seen e V the shattered r mains of another vessel (Plate III) . di Such was the Tavoletta Gabella . I n the same year the officials of Biccherna caused a similar allegory to be painted in commemoration and d of the same reforms ; , although this secon d Tavoletta no longer exists , we have an a equate description o fit in the D ia r io of Alessandro Soz z : befel Granv ela ini . He says I t that the said and Sfo ndrato were in Siena what time his Cath olic Maj esty was shipwrecked in Algiers ; where fore the said Granv ela was compelled to depart had d d from the city more quickly than he inten e , and had was unable to finish that which he begun , d f d o leaving in his stea the said S o n rat . Now in that year Girolamo Tommasi was Camarlingo of Biccherna and he left the Ta v ola della s ua entr a ta painted upon this wise : a ship on the high seas with a great sail ; in the prow whereof was painted Justice with scales and a naked sword ; on the poop was painted Granv ela who pointed with his d hand towar the harbour , where stood the city At of Siena . the foot thereof we re these verses written in letters of gold

T P R D I SI ECTAM VO GRANDVELA PER VNDAs EM O E Q IAM , P C IESARI S A STREAM REDD I DI T AVS I C I I S.

We ask ourselves whether this allegory was the result of mere servile adulation or rather the embodiment of a patriotic yearning for better 1 d things . Possibly the sentiments to which it owe its birth were not unmixed for Siena still trusted her C ae sar .

Of all the ministers whom Charles sent to Gr anv ela and Sfo ndr ato Siena the wisest were , the worst Do n Giovanni de Luna and Do n Diego d de d z Hurta o Men o a , that

Arc im ar rano

m c tt ta a al e e al m nd Ne i o a tu a I li , ci l o o ,

who , as the Mangia wrote to Riccio the painter , possessed il viso ursegno ’ ’ D un b anc c o n l o c c hio o n moro i o , p rci o ; ’ 2 e a di fu b d assassino C r proprio r o e ,

ta nti alli and whose f , in the opinion of another d Sienese poet , merite no less a punishment than

’ ’ ? La fo rc ha l f l c a e t a , uoco , rro la an glia

1 That the Sienese really believ ed th at t hi s re fo rm had been ef fec tual for goo d seems reaso nably clear from the le tter written by the m a st ates o fthe Re b to Fra e na n n in 2 A t ans gi r pu lic B r rdi o O chi o 1 54 . r ’ latI O n will be fo und in KARL BENRATH S Be rn a rdi n o Ochin o of Sien a

Lo n n a e . ( do , p g 95 2 A. So z z I NI D za r io Firenz e Vieusseux D o ment X I V , ( , , cu ,

a e 6. Sonetto c he m an a z l GI e a To e del Cam o a mae p g 45 , d MAN A d ll rr p st o RI C I Pitto e a P sa er a r t I G i endoz z a r C O r i p f ri ra rre D an D E O d M . 3 Sonetto cont ra D on D ieg o Urta do da M en doz z a publi she d in h AI zsc ell n t - t e a ea i a enese v ol . V a es 1 6 . s or c s , p g 7 7 N o doubt these views are not impartial , and we might as reasonably expect to form a just estimate of Lord Milner ’s work in South Africa from the statements of the pro Boer press as to ’ obtain an unbiassed idea of Do n Diego s merits and d emerits from contemporary Sienese writers . N evertheless the fact remains that the govern ment of the author of the “ H istory of the War ” of Granada destroyed all the o ld confidence of E Siena in the benevolent intentions of her mperor . 1 L was d d and e submis ove turne to hatre , pati nt 1 2 sion to furious revolt . In July 5 5 the Spanish garrison was expelled and the fortress which Do n Diego had erected to overawe the city was raz ed h d to t e ground. This victory was celebrate on the Tavolette both of Biccherna and of Gabella . There we see the work of demolition painted by a contemporary artist (both the Tavolette are attributed to Giorgio di Giovanni) who had prob ably himself taken part in that festival of des i and truc t on . Magistrates , priests , nobles artisans even little children (c itti e c itte) laboured with d ne u such goo will that , in one short hour , f uas ta ta nta v er so la c ittd c he non se ne sa r ia g , 2 m ur a ta in ua ttr o m esi did L d q . Thus Our a y

1 Co mp are 11 Pa te r n oste r de lla Repubblica di Siena publishe d Th fi t in the M is e anea sto i a senese v o l. I I I a e 1 8. e s c ll r c , p g 7 r v erse ru ns Ecco c he pur da le rapac i mani ’ ’ Di C a lo nt l ti T anno e rio r Qui o , pi ir ’ N h i l b at e dai s a nol ma an a i er i p g r i ,

Pa te r N oste r . 9 SOZ Z I NI D za r zo a e 0 . , , p g 9 garrison " were compelled to defend themselves with stones since powder was lacking for the

e . w arquebus s Their resistance , ho ever , gave Montalcino a little breathing space in which to the and prepare to meet coming storm ; , short d and as it was , it prove sufficient . Men women d and and laboure day night on the fortifications , for two months and eighteen days the imperialists d d her dd bombar e walls in vain , until , in the mi le 1 d of June 5 5 3 , they were compelle to raise the siege and hurry southward to resist a threatened h invasion of t e Turks . The Tavoletta di Biccherna of this year re presents the city o f Montalcino besieged by the e e imp rialists , with a delineation of the entrenchm nts An and o fthe offensive and defensive works . assault

is being made by the besiegers . The scene with d all its etails is one of quite exceptional interest , since it seems almost certain that we may attrib ute di it to Giorgio Giovanni , architect and pain d ter , to whom had been entruste the construction of the defensive works which he here depicts?

Montalcino had beaten off her foes and Siena as al rej oiced but for the last time . Her day w

1 AM M I t e Fi t n e to m a e 1 8. I o r en i e e t o n t . VI RATO , s ri o ( di i ci d) , , p g 3 2 The I I D o men ts 1 - 200 206 see al so [ I am o M LANES cu , III , 97 , c p m e ia e sotto M ontal no nel 1 na r az ione sto i a di Anon zmo i p r l ci 553 , r r c

n m a ne t L I A LI I NI e na at 1 88 . te o o e e b . N and . S S co p r , di d y BA CH , i , G i , 5 A repro duc ti o n o fthi s Tav o l etta is th ere publi sh ed and o n pages xn-XI V the arguments ar e adduced which render it probable th at it was pai nte d nn by Gi o rgio di Gi ov a i . ' d She had had d d most one . her splen i morning , n her long changeful afternoon , her stormy eve ing and now her sun was about to set in such a blaz e of glory that perhaps the world shall never see

the like again .

Of the last great siege I shall not Speak . That d d story of splen i hopeless courage , of unavailing - sac rific e d d self , of fien ish cruelty , of squali suffer

ing , is known to all who know the name Siena . Enough in this place to call attention to the last

C d 1 . Tavoletta of the free ommune , painte in 5 5 5 A There the postle Paul , a tall imposing figure , points with his right hand to the legend inscribed beneath his feet : O M N ES QVI VO LVNT I VSTE VI VE E d E P RSECVTI ONEM PATI VNTV R . R Behin him , and d and fair many towere , lies Siena ; perhaps we may believe that he wishes to console her with

the thought that , even as persecutions came upon and L d d d him the or elivere him out of them all , ’ so may she yet be delivered . When on the 2 1 st April the Spanish troops d d d and - entere the city , two hun re forty two no — bles and four hundred and thirty fi v e popola ni departed with their families to take refuge in M d ontalcino , where , for four years , they maintaine a shadowy form of republic ; nor was it until their last hope of succour was destroyed by the peace C C e e of ateau ambr sis , wh reby the French claims

1 See 2 Timoth 1 1 1 2 —The ns t n of the Tav l etta y III , , . i crip io o I Et m n u t e i n h r ist s an ad ap tati o n o fv erse 1 2 . o es qu i pie v ol n v iv e r C a e er sec ution em atientu r J su p p . were abandoned and the Spanish hegemony was d d d formally acknowledge , that they finally yiel e

to the inevitable . In a Tavola di Biccherna of 1 5 5 8 we see for d w the first time the Me icean arms , ith the motto A d d SEM PER . bove stan s the Ma onna surrounded d by cherubs , her hands exten ed as if to bless , being thus transformed into a sort of celestial ‘ Vicar of Bray prepared to side with the winner even though he might be a Florentine Grand Duke trampling beneath his feet the liberties of her

faithful city . The Tavola di Biccherna of 1 5 5 9 records the

Peace of C ateau Cambresis . There Henry of France and Philip of Spain are depicted beneath d a portico in the act of embracing . On either si e d stand many courtiers and soldiers . In the istance and are to be seen Siena Montalcino . The Ta vola of Gabella of the same year represents the delivery of the keys of the latter city to the agents d d d of Philip II . Roun about its bor er we rea the following legend : L I BER A SENENSI S RESPVBLI CA CESSI T I N VRBEM I LCI N EI M O N T S CLAVES VE I , Q HI N G DETVLI T V LTRO I M PERI VM QVE DVC I C o sM o CV1 SI DERA SVM M A I NGENS PROM I CTVNT SCEF

TRVM M AI O RAQVE R EGN A . By the patent of investiture of 1 5 5 7 Cosimo ’ de Medici had become master of Siena and of d her ominion . H is solemn entry into the city is d d 1 6 1 — a epicte in a Tavola , of 5 very mean pic

d . ture , but curious in its etails pean importance always fi nd an echo in the talk of the city , in the columns of the local papers , in r poetry whether litera y or popular , in the books and and pictures of the period ; thus , in the XVI th century , the history of other nations began to find a place in the Tavole of Biccherna and of Gabella . The commemoration in the Tavolette of the C C e Peace of ateau ambr sis may , of course , be accounted for by the very definite consequences which that reconciliation had for the state of 1 di Siena . H owever , as early as 5 3 3 , a Tavola Biccherna records the victory of Andrea Doria over the Turkish fleet in the Gulf of Messinia , while immediately after the fall of the Republic no fewer than three Tavolette are referable to the h I fid l war against t e n e s . During the XVI th century the Turks were a c C d constant mena e to hristen om , and it has been truly said that the enslavement of I taly by Spain probably saved her from a relapse into barbarism under Mahommedan conquerors . I n the eight ’ years of Selim s reign (1 5 1 2 - 1 5 2 0) the Ottoman empire had been almost doubled in extent . H is d son Suleyman rove the knights of St . John from

Rhodes , while to the northward his armies swept V Al round the walls of ienna . Barbarossa won giers for Turkey and held the Mediterranean against the fleets of Spain and Italy : To rghud added Tripoli to the empire : and Piyala routed N and the galleys of Genoa , aples Sicily off the 1 60 Island of Jerba . This was in 5 ; and well might I taly tremble before

’ il Turco c rudel che d ora in ora ’ Per la discordia de principi adopra

Sempre a mio danno e quasi mi divora .

In 1 5 65 the I nfidels once more measured had swords with the knights of St . John who 1 h taken refuge in Malta . On May 8t the Turk ish fleet under the redoubtable Dr agut appeared

. and d in sight , one of the most celebrate sieges d in history began . It was finally raise on the 8th of September after the death of Dragut and

- twenty fiv e thousand of his followers . On the scene of this desperate struggle subsequently rose V d the city of aletta . The victory is epicted in a di 1 66 0 we fi nd Tavola Biccherna of 5 . In I 5 7 L ea ue o Venic e a representation of the g f which , e did howev r , not avail to prevent the slaughter of Famagosta and the cruel death of the heroic Bra adino 1 1 we Marcantonio g . In 5 7 have the Ba ttle o L e a nto was f p , in which the Turkish fleet almost annihilated - a success which was potent

in fanning the flame of Catholic enthusiasm .

di 1 82 w The Tavola Biccherna of 5 , hich is Re or m o the Calendar commemorative of the f f , deserves to be described at somewhat greater e length , not only because it is of high r merit than most of the pictures belonging to a period d d S m nd i . o s uring which , in the wor s of Mr y , art sank into a slough of slovenly and soulless ” putrescence , but also by reason of the interest which it possesses as an historical curiosity . 2 d A D . d I n the year 3 5 . , it being consi ere desirable to establish precisely the period of the celebration of Easter according to the Christian d and tra itions , with reference to the spring equinox and C N a d the full moon , the ouncil of ic ea agree the that , to obviate effects of certain errors of C d computation in the Julian alen ar , which was n the one the in use , the spring equinox , which had d e 2 th been place th rein on the 5 of March , should be put back to the 2 1 st of that month . C d d did The ouncil , having fixe that ate , not go and into the matter any further ; , the errors of C d e d the alen ar not having b en correcte , the equi d d and d f nox continue to retroce e , the i ference between the astronomical and the ecclesiastical year became annually greater . This ever increasing discrepancy began to be obvious to all thinking persons in the first cen turies dd A and of the Mi le ges , because it brought d about , or at any rate , woul have brought about in 1 d d t me , ifficulties with regar to the ecclesias tical liturgy and inevitable conflict between the traditional authority of H oly Church on the one d and han the laws of science on the other , the d b d d and matter commence to e seriously iscusse ,

1 Rena san e z n I ta : The Ca tho Reac tzon Lo n n Sm t is c ly lic ( do , i h

l a t a e 20 . e 81 C o . E d r , p r II , p g 9

[ 00

great fact of the Gregorian reform , which hap d d pene during his official life , he has preserve Tav la abo v e d o . for us a record in the , mentione the e d To the left of the picture is Pop , seate u pon a throne surmounted by a canopy . He — holds in his left hand a scroll possibly the re port of the Commission or a draft of the Bull of Reform — while he raises the finger of his right d d han as if to bespeak attention . On either si e o fthe throne stand cardinals and minor ecclesiastics d e as also a halber ier . Through an op n archway

f. a full light falls upon the Ponti f Before him , s eated at a long table covered with green cloth d and d are seen car inals , bishops , friars octors . w ds Some of these have turned to ar the Pope , s e d w om are isputing ith one another , others make he d computations on their fingers . In t mi st of them stands a prelate with a long staff which he d d and w hol s in his right han , ith which he points to certain signs of the z odiac which are painted d w . in a frame hung upon the all In his left han , d which is resting upon a globe , he hol s a pair d of compasses . This is evi ently one of the prin c i al C p members of the ommission , but we have no means of ascertaining whether or no it is an actual d see portrait . We shoul like to what manner of A L Ghiraldi d man ntonio ilio , who carrie out the d d L was plan of reform of his ea brother uigi , ; or to recogni z e in this figure the Cardinal Gu lielm o Sirleto who C g , himself a alabrian , doubt less did much to promote the scheme proposed 1 0 1 by his fellow countryman ; but the costume is not

that of either a cardinal or a doctor .

However , this , after all , is a minor matter . The importance of the Tavola does not depend upon the accuracy with which the persons and w d ed things hich it represents are elineat , but rather on the fact that it records a scientific event d— d d of worl wi e influence , and testifies , in the mi st d e d fi nd of much eg neracy , to a culture which coul an interest and an expansion beyond the walls of Siena and beyond the confines of the State . Moreover it is to be observed that some years had e d d t o f before , when Gregory s nt roun a raf the proposed Lilian Reform to obtain the opinion d d m of the learne in regar to it , a ong the numerous d d O Italians who forwar e authoritative pinions , there were not lacking two Sienese : Alessandro Picco lomini and Teo filo z , Bishop of Patrasso , Mar io , a i Cassinese monk .

A di 1 8 Tavola Biccherna of 5 5 , which rep resents a skirmish between the troops of Pope V and d C am Sixtus . the brigan s of the Roman e h d pagna , is interesting becaus , in the right an and corner , we see the Basilica of St . Peter in the foreground the great obelisk which had then been newly placed in the position which it still XVI I th r occupies . Two Tavole of the centu y w z z del C and contain vie s of the Pia a ampo , there

1 — P I av l nt . o it a es 22 2 See C . Le T o ette e & c . c . . AOL , dipi , , p , p g 4 1 0 2 are several which refer to the Madonna of Pro — v enz ano and the construction of her church an event which I have discussed so fully in another place that it c an hardly be necessary to allude to 1 it again .

And now , before taking leave of the Tavolette , I would ask the reader to consider for a moment the last fifteen or twenty of them — those of the V h — X I t century merely with regard to their colour . d and the le ur e Where now is the gol blue , fi g ’ a dor na te e la v or a te d az aur o fi no oltr emar ino e or a and a ltr i ni c olor i w d , the fi , hich appeale so s old trongly to the Sienese , and of which the 2 p ainters of an earlier date made such lavish use ? A return to the first room and a second glance ’ a t ' Sano di Pietro s M ar r iag e of L uc r ez ia M a la And v olti will serve to emphasi z e the contrast . d the change has been a very su den one . The n and Republic puts itself under Spanish protectio ,

" t lo in an instan , almost as it were by the waving ’ d of a magician s wan ,

t there hath past away a glory from t he ear h .

V A 1 6 When Charles . entered Siena in pril 5 3 , was d he cla , as a contemporary writer informs (t us , with great simplicity , to wit in a black velvet

1 ‘ O u r L a o A st a nd the Patio o Sien a a . V . dy f ug u f , ch p 3 - See the I I D o ments v o l. a es 2 6 2 8. M LANES cu , II , p g 5 5

1 04 dic ated and d Cam , ascribe it to the same cause . panella wrote as follows

k b e b efit a e O t Blac ro s our g . nce hey were white ; ’ N n - d da k f ext ma y hue ; now r as A ric s Moor , i - b k fe a a b N ght lac , in rn l , tr itorous , o scure , n Horrid with ignorance a d sick with fright . Fo r a e b very sh m we shun all colours right , Who end— nd mourn our the tyrants we e ure , The n the e d na chains , the oose , l a , the s res , the lure ”

O ur d nk in . ismal heroes , our souls su night LIST OF TA VOLETTE D I PIN TE D EL LA BI C CHERN A E D EL L A GABEL L A C O N TAI N ED I N THE S I EN ESE AR VE C H I S .

N OTE .

The following list does no t purport to include all ent Ta e but n o f t m as are re exist vol tte , o ly such he p n i t t n resented i the Ar c hivia d S a o in Sie a . Where ’ the titles of the p ictures are printed in ordinary type the originals are in the Sienese coll ec tion ; where italics are ed in o ne a a fa e us only p hotograp hs (or , c se , csimil ) f nd t will b e ou here . The author is alone responsible fo r the attributions although he is gl ad to ack nowledge his indebtedness to the k o fS Lisini and o f . e ens n a nd wor s ignor Mr B r o , to the k ind assistance and advice ofProfessor Langton

Douglas . Should the dates give n in this list occ asionally seem to b e at variance with those insc ribed upon the Tavo e the e n m a b e f nd in the f at the l tte , xplanatio y ou act th de em ofc m a i n is e d ed e eas mo rn syst o put t o h re a opt , wh r the Sienese year began o n the 2 sth o f March . The numerals which fo llow the titl es o fthe various pic tures denote the pages o n whic h the same are re f d to in the e e k erre pr s nt wor . 8 1 2 R . 5 . BICCHE NA Do n U o nk o fSan G a n g , Mo alg no , Camarli go , 2 n 8 G ilio di Pie t r o 3 . , 33 , 3

1 2 6 . R 3 BI CCHE NA . Coats o Ar ms o the our r v d t r i f f f P ov e i o ,

Unk no w n 2 n . 3 , 33

1 2 6 . E 4 BI CCH RNA . I ldeb randino Pa liaresi a D ie i g , Cam rlingo , t s a l i 2 n v 3 .

1 2 6 . R 7 BICCHE NA . s o f o f f d D ie Coat Arms the our Provve itori , t is a lv i

2 1 70 . BICCHERNA R l 2 - Pa iaresi n D iet is a l i . anieri g , Camarli go , v 3 33

2 R . 1 73 . B ICCH E NA a o f s o f f d Un = Co ts Arm the our Provve itori ,

2 - k no w n . 3 33 — (NOTE I n the lo we r h alf o fthe Tav o l etta is depicted the Po testain m m t m T i ac t o f ass en o n a na . s s o ev e a o m a a p g judg cri i l hi , h w r , c p r tiv l m n i e y o der add tio n . )

1 R 2 6. 7 B I CCHE NA . Do n a e nk o fSan C a B rtolom o , Mo Galgano , m arlin 2 - go , Unk no w n 3 3 3 R 1 . 280 . BICCHE NA D ri d nk o fSan n o Gui o , Mo Galga o , Camar G uido lingo ,

LL . 1 2 9 1 . GABE A

o f m o f M a s : Coats Ar s the three Esecutori , - 2 n . s ar uc c io 3 33 , 34

1 LL . 35 7 . GABE A The s o f t S c h o o l fK m Circumci ion Chris , o b r o gio L o r e nz et t i R 1 367 . B ICCHE NA . h l Tr init with att ndant T e Ho y y, e Saints Unk n o w n

R 1 385 . BICCHE NA . o fthe e n o fS n h l Allegory Gov r ment ie a , Sc o o f r nz e i 0 - 0 o Lo e t t 4 , 45 5 , 5 7

R . 1 388. BI CCHE NA d The n an S tt k w . Camarli go cri ore , Un no n R 1 389 . BICCHE NA .

he Cama r lin o and Sc r ittor e . T g , Unk n o w n

R . 1 3 93 . BI CCHE NA

The a and S tt Unk no w n . C marlingo cri ore , 39 R 1 394 . BICCHE NA .

The m ar and S tt Unk no w n . Ca lingo cri ore , 39

R . 1 433 . BICCH E NA

nati o ft he S i d a Coro on Emperor ig smun , Ull k n o w n

1 . R 43 6 B I CCHE NA .

St . in d s t S c h o l f 1 : Jerome the e er , o o G 0 v a nn i di Pa o lo

R . 1 43 7 . BI CCH E NA Alle or o the Pestilenc e g y f , Sc h o o l o f G io v a nn i di Pa o lo

0 . 1 44 GABELLA .

S. d n G i a nni di Pa l . 6 Pietro Alessan ri o , o v o o 5 1 444 . GABELLA . he an nn i i St . ae t G io a d Mich l Arch gel , v Pa o lo

ELL . 1 445 . GAB A The nn n at n M a n n e r o f G io a nni A u ci io , v di Pa o lo

1 449 . BICCHERNA .

Coronation o f Pope Nicol as Unk n o w n . R B . 1 45 1 . ICCHE NA n di et e n i am a lin Un Ghi o Pi ro B lla t , C r go , k n o w n

ELL . 1 1 5 5 . GAB A The nn n at n Unk n o w n 6 A u ci io , 9

R . 1 45 7 . BICCHE NA a t Sa no di Piet r o Allegoric l Pic ure , R E . 1 460 . BICCH NA

nat n o f u . r enz o d Coro io Pope Pi s I I , Lo i Pi P 0 - 1 et r o n . () 7 7 , 79

L . 1 460 . GABEL A n Pius I I . i nvesti ng his eph ew w ith the C ar ’ dinal s hat : , Fr a nc es c o di G io r gio M a r

R . 1 467 . BICCHE NA The M adonna protecting Siena in the t ime o f Ea ak es Fr a nc es c o di G i r i rthqu , o g o

M a r t ini .

1 468. GABELLA .

' e o f and l'l a 60 - 61 All gory Peace r , 1 1 LL 47 . GABE A . The W sd d f Go d a n i om which procee s rom , S o d i Piet r o

1 . 473 GABELLA . Marri age o f Madonna Lucrez ia M alav olti S a n o di Piet r o

1 . 474 GABE LLA . o fthe n n o fS Allegory Gover me t iena , S c h o o l o f B e n v e n ut o d i G io v a n ni

1 . L 479 GABEL A . ’ Allied forces enteri ng Colle di Val d Elsa Fr a nc e s c o di G io r g io M a r t ini 7 1 - 73

1 0 . 48 GABE LLA . The Virgi n recommending the City o fSiena

to Fr a nc e s c o di G io r io M a r : Christ , g t in i 73 - 74

1 8 LL 4 3 . GABE A . Presentation o f the Keys o f Siena to the

V n n k n w n 11 . irgi , U o

LL . 1 484 . GABE A The V n nt d in T G u i irgi prese e the emple , d o c c io e o z z a r e lli

1 LL . 485 . GABE A The Sa o f G u id o c c io Go z z a crifice Isaac , r e lli

1 . G LL 487 ABE A . — Allegoric al Picture The Madonna guidi ng nt the S e S o fSta B e r= i o port i nese hip te , n a r din o Fu ng a i

— I I Z

R . 1 546. BICCHE NA

n h l o f B ec c afumi . Crucifixio , Sc o o

R . 1 548. BICCHE NA

V and d tw o St . s irgin Chil with the Catherine , P D o m en ic o B ec c afumi ().

2 1 5 5 . BICCHERNA . De n o f S n f e G i r io di molitio pa ish ortr ss , o g G io va nni 90 - 9 1

1 2 LL . 5 5 . GABE A D n o f S f t G io r io di emolitio panish or ress , g G io v a n ni 90- 9 1 R 1 5 53 . BICCHE NA .

S o f n a G io r io di Gio a nni . 2 iege Mo t lcino , g v 9

LL . 1 5 5 5 . GABE A S the o fS n in b k t . Paul with City ie a the ac d G io r io di G io a nni groun , g v

R . 1 5 58. BICC HE NA

Above The d nna nd d b e b . , Ma o surrou e y ch ru s Below The d e , Me ic an arms with the motto S R Unk n o w n EMPE ,

R . 1 5 59 . BI CCH E NA The o f a a b e G io r io Peace Cate u C m r sis , g di G io va n ni

LL . 1 559 . GABE A Su nde o f n a n G i r io l G io rre r Mo t lci o , o g d a nni v 94, 95

- ER . 1 560 1 . BI CCH NA Cosimo dei Medic i rec eiv ing the i nsigni a o f t en Grand Master o fthe Order o fSt . S eph d of a le ato (in at the han s the Pap l g , k no w n;

1 1 . 5 6 BICCHERNA . n o f D k e C os im ofi " n S e a Un= E try u I i to i n , k n o w n .

1 5 66. B ICCH ERNA .

‘

' Def o f T k a a Unk no n . eat the ur s at M lt , W

1 6 . R 5 7 BICCHE NA . ’ ~ The seven fat k ine o f Ph araoh s V ision with

and e e U w . Bacchus C r s , nk n o n

N The All e o is e l a ne b the ns t on . ( OTE . g ry xp i d y i crip i )

- R 1 68 . 5 9 . B ICCHE NA The a o f L U B ttle epanto , nk n o w n 97

The ns t o n o n t s Tav o a ns P NI C (NOTE . i crip i hi l ru AL TE M O DI C O Lo I C I G I KAM ARLI N GO I I 1 68 but D ORNEL O BOR HES D B CCHERNA 5 ; , s n e the attl e o f Le anto w as not t nt tobe 1 1 it i c B p fough u il 7 Oc r 5 7 , is clear t h at h e caused it to b e p ai nted so me time after his term o f offi ce h ad expired . )

- R 0 1 . 1 57 BICCHE NA . nd R The Amb assadors o f Philip II . a epublic o fVenice enter i nto a league with Pop e

s V . a s h T k t e . Piu ag in t ur s , Un k n o w n .

- BC R . 1 5 74 5 . I CHE NA d Virgin an Child with St . Catherine o f Siena n — and St . Joh the B aptist The k neeling

e is C av . a ann M aresc otti C a figur Al m o , m arlin o g , M a nne r o f B ec c afumi .

- 1 6. R 5 75 BI CCHE NA . Th e n a n Sc h l fB f . Annu ci tio , o o o ec c a umi 1 1 4

1 82-8 R 5 3 . BICCHE N A . The R f o f the d nk n w —1 0 1 e orm Calen ar , U o n 97

- 1 8 6. N 5 5 BICCHER A . Sk irmish between Papal troops and Brigands

Un k n o w n .

1 86-8 5 7 . B ICCHERNA . T n n k w n . Holy ri ity , U no

- 1 8 8. R 5 7 BI CCHE NA . Sienese Ambassadors do homage to Cardinal ’ F d n d de ed nd D k o f er i an o M ici , Gra u e

' T n Ant o nio G r e r i . usca y , g o

- R 1 588 9 . BI CCHE NA . d ’ d Wedding of Fe rdinando I . e Me ici with na d e o f of L n Cristi aught r Charles orrai e ,

Ve nt u r a S a limb e n i .

- R . 1 589 90 . BICCHE NA ’

a t of . de d e nt ur a B p ism Cosimo I I Me ici , V

S a lim b e ni .

- 2 R . 1 59 4 . BICCHE NA The Officials o fthe Concistoro and of the Bal ia o f Siena venerate the Madonna o f r nz n Un k n o w n P ove a o ,

- R . 1 595 8. BI CCHE NA F = n an o f n V . n Un E tr ce Cleme t I I I i to errara ,

k n o w n .

- R . 1 60 1 4 . BICCHE NA

d nna o f nz a St . at e n The Ma o Prove no , C h ri e

and San e d Fr a n es c o a n ni . 1 02 B rnar ino , c V

CHRONOLOGICAL TABLE

RIN AL NE E AI N E P C I P S I E S P T RS .

U D D A SiENA fl d in G I O , ourishe

L O DI ' TRO ai ed a T o etta di ic GI I PIE , p nt av l B cherna in 8 1 2 5 .

DI ETI SALVI PETR ON I flo ur -ished betw n 1 2 an , ee 59 d 1 282 .

‘ V N TURA D I GUA‘LZI ISERI o f w m we ha e r ecor d in E , ho v

2 d 1 2 1 64 an 70 .

UI D O D I ‘ R I died ear in the X IVth c ent ur G G AZ ANO , ly y ,

MASSARUCC I O in ed TAv oletta di be a in 1 2 1 . , pa t a Ga ll 9

DUC C O DI BUONI NSEGNA b o rn ab out 1 2 60 died 1 0 . I , 34

S A D I UON VEN TU A DI BUO NI NSEGN A flouris ed EGN B A R , h in 1 305

TR L R Z ’ETT r ec o ded in ob b PIE O O EN I , fi st r r pr a ly died in the great p estil ence o f 1 34&

RO GI w a nnz m n ho n at tire c os ofthe XI II th AMB O , r l e c entury; died ab out

S M RTI N b o n 1 28 ? - died 3 . IMONE A I , r 5 344

L PPO fMEMMi di d e 1 . I , 3 57

L PP DI VANNt st livi in Marc h 1 . I O , ill ng 375 1 1 8

C D I D EL LL CC fl d in 1 2 GIA OMO M INO PE I IAIO , ourishe 34 ;

1 6 was dead in 39 .

FR D n d d RT L D I STR b 1 1 0 . BA O O MAE O E I , or ie 4

LU C D I T E fl d in 1 d ed 1 81 . A OMM , ourishe 3 5 5 ; i 3

R fl d in 1 0 d ed 1 81 P. BE NA , ourishe 37 ; i 3

L D I V fl d in 1 81 . PAO O GIO ANNI , ourishe 3

D R D I V b ab 1 2 d d b o 1 1 . AN EA ANNI , orn out 33 ; ie a ut 4 4

T DD D I RT L b 1 6 d d 1 2 2 . A EO BA O O , orn 3 3 ; ie 4

S D I TR b 1 0 6 d d 1 81 . ANO PIE O , orn 4 ; ie 4

D C D I RT L d d b 1 . OMENI O BA O O , ie a out 449

VA D I L i b d o f n GIO NNI PAO O , nscri e on the roll pai ters in 1 42 8 ; died 1 482

L R DI TR il V C C H TT b 1 1 0 d d O ENZO PIE O ( E IE A) , orn 4 ; ie

1 480 .

ST F O D I V S SS TT d ed 1 0 . E AN GIO ANNI ( A E A), i 45

TT DI VA RT L b 1 20 d d 1 . MA EO GIO NNI BA O I , orn 4 ; ie 495

V T D I VA b 1 6 d d b 1 1 8. BEN ENU O GIO NNI , orn 43 ie a out 5

NERO CC I O D I RT LO L D b 1 d d BA O MMEO AN I , orn 447 ; ie

1 5 00 .

FR C SCO DI O R M RT b 1 d d 1 02 . AN E GI GIO A INI , orn 439 ; ie 5

G UI D O CC I O C O Z Z ARELLI b 1 0 d ed 1 1 6. , orn 45 ; i 5

R RD FUNC AI b n 1 60 d d 1 1 6. B E NA INO , or 4 ; ie 5

T R L b 1 d d 1 1 6. AN ONIO BA I I , orn 453 ; ie 5

DR D I N CC LO b 1 60 d ed 1 2 . AN EA I O , orn 4 ; i 5 9

R L D I V UT b 1 0 d e d 1 2 . GI O AMO BEN EN O , orn 47 ; i 5 4

C PAC C HI ARO TTI b 1 d ed b 1 0 . GIA OMO , orn 474 ; i a out 54

R L D EL ACC H b 1 d ed 1 . GI O AMO P IA , orn 477 ; i 5 35

‘

VA D I LO RENZ O C I NI n in 1 8. GIO NNI , still livi g 53

LD SSAR RU b 1 81 d ed 1 . BA A E PE ZZI , orn 4 ; i 5 37

N D EX I .

6 6 . ADVO CATA Senensium , 61 , 4 , 5

A az z ari Fra F o g , ilipp ,

'

A r e ati The . gg g , , 73

essand The e sed Piet o 6 . Al rino , Bl s r , 35 , 5 n

f s D k Of alab a . Al on o , u e C ri , 73

e 88 6. Algi rs , , 9

e a Ta e 6 se . All goric l vol tte , 44 , 5 q

’

A ba c z a um 14710 e uo 2 1 . m s aé c q , n Ambrog io Lorenz etti : see Lor enz etti

nd e D 6 . A r a oria, 9

‘

i i i e c 2 2 . Ang ol e i C co ,

n u 8 . A g illara , 5 S e u de e e n e de n Armouries , tat , n r th sup ri t n c e d i 2 Provve itor , 7 . n f n e O S e e e 1 se . Art , Co s rvatism i s , 5 q

' ’ Afi e e l S ez z z d g i p al , 56 n .

r l A te del a Lana, 46 n .

Ar s a s a s me ’t off u s ti n , B ni h n o r thou and,

C K : s Ta l ee vo e Ga e o . BA GAMMON , m f R c n e . Ba o og r , 9 9

d e e z i 1 Bal assar P ruz , 5- ,

' ' Balia JZ M a m c o Colle zo dell , g fi g a; 44 , 7 9 ‘ Bah e, 1 6. B l n a z a a, The , 5 7 n . , 7 0 , 7 1 .

Ba neo . , 3 2

’ Bandit z 2 or , 7 . k 6 Ban ers , 4 n .

‘ ’ Bam ztzer e, 5 9 .

' ’

Bar bar znus c uslos Bzec /zer ne 2 . , 3 n

a b a 6. B r aross , 9

o fthe S e c d 0 . Baths i nese onta o , 3 B 8 ec c afumi D me 1 1 . o nico , 5 ,

e n di t 61 . B llanti Ghi o Pie ro ,

in the d 6 n . 0 . Belle Arti , Pictures Galleria elle , 3 , 5 7 , 7

n d R O fSt . 1 8. Be e ict , ule ,

e di ni 60 . B nvenuto Giovan , 5 3 , 5 7 ,

e M r . d 2 8 hi d a n o f n . 1 s e B renson , , quote 4 , ; epr ci tio

k Of b L nz t n . his the wor Am rogio ore et i , 45 ; inac

- d Of 8 11 . curate escription pictures , 7 79

e d San d n e the e o f e B rnar ino , ; enou c s lection eccl siastical in 1 C amarl hi 11 . g , 9 d f n o i St . 6 . Ber ar Cla rvaux , , 9

' '

Ber r omer z , 2 0 .

da S na . Bianco ie , 5 5 n

Bic c her na : de n O f d 1 f of e rivatio the wor , 7 ; O fice , wh n

f d 1 e e ed 1 e n n orme , 7 ; wh r situat , 7 ; int r al arra ge

o f t a d a o f 6 ments , 39 ; pic ures p inte on the w lls , 35 , 3 ,

k f 2 1 . 1 f O f 1 8 . o 7 ; o ficials , seq ; Boo s , seq ; Power ’ O f d b de ed 2 8 b d b , curtaile y Cosimo M ici , ; a olishe y

Le d 1 . Pietro opol o , 7 ’

R . Blessed D amoz el D . . , G ossetti s , 5 5 n

’ ' ' ’

Bow ens Bom et c astaldus c omums 2 1 . , n

' '

B m lz z 1 2 6. o om nes , 6,

V . 8 86 8 0 Charles , 3 , , 9 , 9 ,

- a V . 8 80 82 . Ch rles I I I , 7 , o f 2 1 Charles Anjou , . imaer s Ch a , a Cisterci ns , ‘ ‘ ’m’ Civizas Senar um Civitas Wr z s . g , 44 8 n VI I . 8 86 . Cleme t , 3 , , 7

a 8 Cogn c , 3 . ’ - di Val d 2 . Colle Elsa , 7 73

F ein fo r i on the aint o f Colour, e l g r ch, am g p ers Quat 1 troc ento , 5 3 , 02 .

“ Co our s o ft he C omm ne l u , 44 , Comm issioner s app ointed to e nquire I nto the a ctions

o f e in m t es 2 6. r tir g agistra ,

onsi lio del Po olo 61 . C g p ,

Consi lio ener ale della c am ana 1 6 2 2 1 g g p , , 5 , 7 , 3 . ’ ’

nsoli az M er c anz ia 2 . Co , 5 68 Constantinople , 5 9 , . ’ ' Constitutum Palaziz 2 . , 3 n

n 1 . Co suls , 7

na b d . Coro , Al ergo ella , 79 d 2 1 Corra ino , . f i l flic a s 1 n . i o O e r n me t 26 n . Corruption 9 ; th i pu sh n , ’ m de ed 2 8 Cosi o M ici , , 94 .

d 6 . Crusa es , 9

C fe 2 2. ur w , : Cusanus Nicolaus see N ic olaus Cusanus .

’

Custos Bzc c /zer ne 2 . , 3 n

D T e 2 2 1 . AN E Alighi ri , , 9 De The em of : coration , five El ents , 5 Dietisalv i S n e 2 n . 8. , ienese pai t r , 3 , 3

D d The 2 6 n . 6 n . o ici , , , 5 5 7 D n Bec afu i 81 . . ome ico c m ,

Do n D e d de M do z : see M endoz z a i go Hurta o en a , d ' D ieg o z .

Do n i de L : see Luna D on Ge Giovann una ,

Dra ut . g , 9 7

D c 0 . u cio , 4

Duomo : see Cat/z edr al.

- - RTH U K S of 1 66 1 6 The 61 6 . EA Q A E 4 4 7 , , 4 d 't Enir ata an s z a 1 . U e , 3 ‘ E i azu 2 i eo s 1 . p p , n ’ ' - Esec utor i az ab ll 0 . G e a, 3 3 1

‘ ’ ‘ ' Eszzmo ir r : see L a o Es zzmo .

n I V . 66. Euge ius , 66 Eurialo , .

F LC S 2 1 . A ON , m F . a agosta , 97

f a Fe an e o 1 . rr t N ples , 7

Th f 11 F e o 1 . iesole , Bishop , 9 F m a n fo r es d d b ire , Co pens tio hous estroye y, d ’ F n e . e e d . ra c sco I M ici , 99

F di nd ea 1 . rancesco A r , 7 F n di 6 a n 0 6 . ra cesco Giorgio M rti i , 54 , , 3 , 74

F n e To desc hini 0 ra c sco (Pius 7 . F an f o St . 0 . r cis Assisi , , 4 Fra n 81 . Paoli o ,

F ed k e . 2 1 r ric I I , . F d k . 8. re eric II I , 7

F en d n of T 1 r ch omi ation uscany , 3 . LL M 2 - of 8 1 . GABE A , agistracy , 3

n San 0 Galga o , , 39 , 4 , 44 .

San n of 1 8 1 8 . Galgano , , Mo astery , , 9 , 3 , 39 Th d e nd . Gallerani , Blesse A rea , 3 5 f n o C 0 n . Games ha ce , 3

0 . Gaols , 3 n

‘ Gem e v ana , 9 1 .

Ghiraldi L . Antonio ilio , 99 Ghir l a di L i L 1 00 . u gi ilio , 99 ,

z z 8 Gian Galea o , 4 , 49 .

a 2 n . 8. Gilio , M estro , 3 , 3 di n and 0 2 . Giorgio Giova ni , architect painter , 9 , 9 ’ a i d ll A ua 2 6 e c n . Giov nn q , di f a 2 . Giovanni Cristo no , 7 ni di n 8 L z n . Giovan ore o Ci i , 5 i di 6 8 0 . Giovann Paolo , 5 , 5 , 7

del 81 . Girolamo Pacchia ,

di 11 . Girolamo Benvenuto , 5 7

o f S na Government ie , Allegorical representations

- 0 6- 44 5 , 5 5 7

n d o fthe war of 0 . Gra a a , History , 9

- Granv ela n e de 8 8 . , Antoi e P rrenot , 7 9

X . 1 00 1 0 1 . Gregory II I , 99 , ,

0 7 05 3 0 17 a , , the pl gue sore , 5 9 .

2 6 . Guccio Pieri , n i i Gu c c ardini . , 49

d 2 M . Gui o , aestro , 3 n

uid li 6. G o c c io C o z z arel , 54 , 5

RY . o f Fr . HEN I I , ance , 94 \

VI . 1 . Henry , 7

1 2 8

D Adv o c ata Senensium 61 6 6 6 . MA ONNA , the , 4 , 5 , 9 ’

M adonna d on lli 6. e D z e , 3

M adonna d lla uer c ia in Viter bo 6 . e Q , 3

M adonna d l t 6 e Vo o , 4 ,

Mahommedans : see Tur k s .

M ala v o lti n 80 . Ag olo ,

M . alta , 97

M an ia L Of R i the n 8 . g , etter the , to icc o pai ter , 9

e d b d n L d OfG 2 1 . Mantle pres nte y Corra i o to our a y race ,

M a Bra adino . rcantonio g , 9 7 M k 0 . ar ets , 3

M San in of 8 artino , , Picture the Church , 4 ,

M San Te z di 2 11 . artino , , r o , 3

a The V n : M adonna . M ry , irgi see M di n atteo Giova ni , 5 3 , 54 . ‘ M assar neio di e niior e 11 . p g , 34 ’ N r ti n o dau s D e ener a o . Max g , 5 4 n

ed The 8 . M ici , 7 , 94 , 95

- M endo z z a Do n D e di 8 1 . , i go , 9 9

M an O 6 6 . erch t ligarchy , 4 , 4 n

a f o f 6. Messin , Gul , 9 M euc c i m d S e , a contemptuous ter applie to the i nese ,

n e . M ichael A g lo , 9 5 l n M o les Se a , 5 4 .

M nk o f a 2 . o ey Potest , 3

S O f 20 0 . Monopolies , ale , , 3

n a 1 2 . Mo t lcino , 9 , 9 , 93 , 94

M n o f 8 6 8 . o taperti , Battle , 3 , 4 , 3

t 1 Mon e Amiata , 7 .

M onie del Po olo 8 . p , 4 , 7 4 ’ ni d ili e nti 8 . M o e e N ob R g e , 3 f n e 1 . Mont ollo ico , 9

n an 8 8 n . Mo tepulci o , 3 , 7

n n 1 . Mo teriggio i , 9

n e S e 0 . Mo t i p i , 4

nt e 1 . Mo icchi llo , 9

n e e di 1 n . Mo ti ri , Cast llo , 9

' u ni M ller Joh ann : see Reg zonz o anus . n Mysticism , 54 , 5 5 .

NATI VI TY o f in a a d , Picture the , the G lleri elle Belle Arti ,

3 9 n . i Ner o c c o di Land . i , 74

e n a t mm e d il R c 8 . N ro i B r olo o , etto i cio , 9

Nic zea n f o 8. , Cou cil , 9

a V . 6 . Nicol s , 7

au an s . Nicol s Cus u , 99

d a n o a St 6 . Nicol B ri , 5

o O f the nt O fT n nn n 2 11 . Nicol Cou s i ti a o , 3

h at e d a a m en n E. n t e 1 n o . Norto , C . , C h r l p ve t , 5 Notary o fthe C amarlingo di Biccherna : see Ser iiior e

Bic c h r na di e . Th 8 e 6 6 n . Nove , , 4 . 4 47 , 7 3 , 74 . 7s, 3

No v esc hi : N ooe see .

O L SK in the az z di San t R 1 0 1 . BE I Pi a Pie ro at ome ,

O c a Fra e a d n 8 11 . h , B rn r i o , 9 l Official corrup tion : see Co r r uption of ofi ieia s .

d l u m 2 O er aio e D o o 8. p ,

O a 2 1 . rgi ,

Ot man 6. to Emp ire , 9

O ur Lad o f a e 2 1 . y Gr c , P nn hi s hi 1 n a o c c e c . PAGANO , 9

a az z bb 1 n . 6 6 0 1 . P l o Pu lico , 7 , 3 5 , 3 , 45 , 7 , 7 , 7

Palio Th 2 8 6 n . 8 . , e , , 5 , 5

a n Fr a 81 . P oli o , ,

e n b t d fo r a in f a Pap r , whe su stitu e p rchment the o fici l

e r gisters , 34 . Pare ntuc elli Tommaso : see N ic olas V

a n . P tter , 5 , 53

a . 60 . P ul I I ,

St . 1 n . . Paul , , 9 , 93

nt o f S ne d 1 66. Paveme ie se Cathe ral , 5 ,

az z n a The 1 . P i Co sp ir cy , , 7

e n San o f 1 . P llegri o , , Church , 7

Pennones r o ea iendo ei onendo c aru m 2 1 11 . p p p / , l i e : Po olo Po olani Po o ar &c . P op le see p , p , p ,

e e fo r fa n 2 1 . P rch s lco s ,

e n t nt n o f : Gr anvela . P rre o A oi e , Bishop Arras see

u n 81 . Per gi o ,

z P eruz i B aldassare : see Baldassar e Per uz z i . f et ando . P rucci P l o , 7 5 seq h T e 8 . Petrucci , , 3 i o f S a n . Philip p , 94 l h T az z a de 1 n . 1 d ted in t e Pi Campo , 7 , 9 ; ep ic avo

ett 1 0 1 . l e ,

n I ac o m o 0 . Piccini o , 7

m n and 1 o f a s 0 1 . Piccolo i i Aless ro , Bisho p Patr s o , Piccolomi ni [E neas Sylvius : s ee Pins

Le d nd D k f 1 t o T . Pie ro opol o , Gra u e uscany , 7 8 n 1 1 . Pi turicchio , 7 ,

t an n o f 8 . Pi igli o , Cou t , 5 6 6 n s . 0 1 . Piu I I , 5 , 7 , 7 , 7 , 7 9

Ri aldi 2 2 n . b , i l Riccio : s ee N er on Bar olomnzeo .

R Ser I ac omo di D men 2 6 n icci , o ico , . R b 8 o erto Pucci , 5 .

R b t San n 8 n 0 . o er o severi o , Cou t ,

R d as b e o f n d ope use em l m civic co cor ,

R ver ia r o d mino i l 2 1 n o o I rr er a or e . p p ,

S L d a A A ella P ce , 45 .

Sa a d l d e a a n 1 . l M pp mo o , 7

San t f f 2 2 11 o . Cris o oro , Church ,

San n 8 8 . Marti o , 4 , 5

S n di e 6 0 80 1 02 . a o Pi tro , 35 , 5 4 , 5 , 7 , ,

San e n 1 . Pell gri o , 7

San 1 . Quirico , 9

Sansedo ni The d b . , Blesse Am rogio , 35

Sa 1 z d v o z o a S n 0 . ie a , 49 , 5 n

S n di nz Turamini n di Bic cip io e Cresce io , Camarli go

na . cher , 99

r ll r di r na 2 8. Se i o e Bic c he , 4 , 3

r ll di a lla 6 Se i or e G be , 3 .

m I 6. S . eli , 9

ena Veins Civ ilas Vir inis 61 . S g , n

S n al t n t nn t d t . e su i y i tima ely co ec e wi h mysticism , 5 4 , 5 5 n

- Sfo ndr ato F a 8 8 . r ncesco , 7 9

- n n : l She wolfsuck li g Twi s see Wo f.

S o fS . iege iena , 93

- S m nd 6 6 . igis u , 5 7

S n an o ff . ig ific ce orm , 5 , 5 3

S n 81 . ig orelli ,

S m n . i one Marti i , 5 4 n Sirleto a d m , c r inal Gugliel o ,

S V 1 . I . ixtus , 7

S t V . 1 0 1 . ix us , S d 1 81 . o oma , 5 ,

’ Eo c t oc t oo 9 3 5 0 6. p , 5 S a e- m n p c co positio , 5 .

S n f e D e t t n of the 0 . p a ish ortr ss , s ruc io , 9

S an em n its eflec t n ta n d and p ish heg o y , upo I lia ress

- a a ar t 1 0 2 1 0 . It li n , 4

Siane/zi r o n ndis alc onibus 2 1 n . p p o e f ,

S efan D o n am a n del u e . t o , , C rli go Com n , 39

lor d du r n 6 S ia i e A n a li, 6 .

’

St . e e at R m 1 0 1 . P t r s o e , 6 e man . S I . ul y , 9

S m t ne S n o f in the k o f e di u p uous ss , e se , wor s Matt o

ann and en n di ann . Giov i B ve uto Giov i , 53

- M . d 2 n . 8 1 0 1 0 . S nd A. r ymo s , J . , , quote , 4 , 45 , 9 , 3 4

T C T L a e n . A I E v lu s , 45

Tavole am f o 0 . , G e , 3

Tav ole Tavolette 2 , , 3 , 3 5 .

Tauolelle di inle de n d 1 1 6 fe o n p , fi e , 5 , ; Pro ssor Paoli the 6 f e a d fo r 2 n . n . n o , , 7 ; Pric s p i 3 , 34 ; Evolutio the 1 - - 6 Efle c t o f S redo mi , 3 35 , 5 5 , 95 9 ; panish p

n n n h 2 - 1 e o t e 1 0 0 . a c , 4

Ta at n 2 0 2 8 2 2 . x io , , , 9 , 5

Te n e o f the a S ne e nte n a . ch iqu e rly ie s P i rs , 5 4 , 54

Teofilo a z ne nk 1 0 1 . M r io , Cassi se mo ,

Ter z iar i 2 . , 5

Te z di San in 2 n r o Mart o , 3 .

Te z One e f u e t d m e 1 . r o , Es c tore sel c e ro ach , 3 T R di 2 n intinnano , occa , 3 .

T D 2 eo 2 . olomei ,

T a omm si Girolamo , Camarlingo Biccherna ,

T r hud 6 o g , 9 . T 6 rip oli , 9 . T k 68 2 6 ur s , , 9 , 9 , 97 .

UG O da f n Batti olle , Cou t , 39 .

U o Don 8. g , , 3

U b an 1 o f . m ri school art , 5

U F a 1 8. miliati , r ti , ‘ Useila : see Enlr ala and Useu a

VAL di 1 . Chiana , 9

Va . letta , 97

V n L 6. a ni ippo , 3 Vecchietta : see L or enz o dz

V ni L of . e ce , eague , 97

V 2 1 entura , .

Vesillurn Ter er ii aneli M ar tini 2 11 . z S , 3

V nn 6. ie a , 9

V n The : M adonna . irgi Mary , see

V n . isco ti , 47

V e b 6 . it r o , 3

V 1 . olterra , 9 n

W LF b o f S a . O , em lem ien , 44 , 5 7 n

RA 0 8. Z A , 3 , 5

’

u 2 n . Z endaaar i s , 1