,,handbooks ,,of ,,the ,,great ,,craftsmen4 ,,edited ,,by ,g4 ,c4 ,,williamson1 ,,litt4,d4 ,,the ,,pavement ,,masters ,,of ,,siena ,handbooks of the ,great ,craftsmen4 ,illustrated ,monographs1 ,biographical and ,critical1 on the ,great ,craftsmen and ,workers of ,ancient and ,modern ,times4 ,edited by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,imperial #afmo1 with numerous ,illustrations1 about #es4 net each4 ,first ,volumes of the ,series ,,the ,,pavement ,,masters ,,of ,,siena4 ,workers in ,graffito4 ,by ,r4 ,h4 ,,hobart ,,cust1 ,m4,a4 ,,peter ,,vischer4 ,bronze ,founder4 ,by ,,cecil ,,headlam1 ,b4,a4 ,,the ,,ivory ,,workers ,,of ,,the ,,middle ,,ages4 ,by ,a4 ,m4 ,,cust4 ,others to follow4 ,,london3 ,,george ,,bell ,,and ,,sons ,,new ,,york3 ,,the ,,macmillan ,,co4 ,,the ,,pavement ,,masters ,,of ,,siena 7#acfi-aefb7 ,,by ,,robert ,h4 ,,hobart ,,cust1 ,m4,a4 ,,magdalen ,,college4 ,,oxford ,illustration ,,london ,,george ,,bell ,,and ,,sons #aijf ,published #aija4 ,cheaper re-issue1 #aijf4 ,,preface ,the first impression that this book may give1 is that ,i have put the cart before the horse1 and that1 instead of dwelling on the ,pavement ,masters1 ,i have laid too much stress on the ,pavement itself1 and too little on the makers of it4 ,a careful perusal1 however1 will1 ,i hope1 prove that ,i have been right in my reasoning4 ,i have felt strongly1 that in order to form a fair idea of these ,masters1 many1--,i may say1 most1--of whose names are entirely unknown to the general ,english reader1 it was necessary to give as clear and vivid a picture as was possible1 of this1 their greatest work1 through which their names live4 ,most people1 who have ever heard of ,siena1 have heard of its ,cathedral ,pavement3--an unique and historical piece of work3--but how many have heard of even such great artists as ,pietro del ,minella and ,antonio ,federighi8 ,on this account1 it seems to me that the case needed treatment such as ,i have given it4 ,i have1 therefore1 composed a full and1 as far as ,i could make it1 a clear account of the chain which connects these men together1 and then added short notices of each1 giving all the important facts obtainable about them4 ,for this purpose1 ,i have examined all the recognized authorities1 and tried to introduce any side-lights that may brighten up a somewhat dull record of facts4 ,i have avoided venturing on criticism3 partly because ,i felt myself unequal to the task2 and partly because my space was too limited to allow of such digressions without a sacrifice of more important matter4 ,where ,i have put forward a theoretical suggestion1 ,i have carefully pointed out that it is only offered as such4 ,i regret that it is impossible to translate all the documents quoted1 chiefly because the quaint language in which they are written is untranslatable1 and would lose most of its charm if rendered into modern ,english4 ,on the other hand1 ,i have1 where a passage specially important to my argument occurs in a document1 given its general meaning in the text4 ,i have added a long list of authorities1 and works connected with the ,cathedral and its ,pavement which have been consulted1 and ,i have to thank cordially1 for practical and artistic help1 and advice throughout1 three ladies3 the ,hon4 ,mrs4 ,a4 ,l4 ,pelham1 ,mrs4 ,j4 ,p4 ,richter1 and ,mrs4 ,trail4 ,,siena1 ,september1 #aija4 ,,table ,,of ,,contents ,,page ,,list ,,of ,,illustrations ix ,,authorities ,,consulted xi ,,the ,,scheme ,,of ,,the ,,pavement xiv ,,chapter ,i4 ,,history ,,of ,,the ,,pavement #c ,,chapter ,,ii4 ,,the ,,pavement #ad ,,chapter ,,iii4 ,,the ,,pavement ,,masters #ajc ,,chapter ,,iv4 ,,other ,,pavement ,,work #adc ,,chapter ,v4 ,,materials ,,and ,,workmanship ,,of ,,the ,,pavement #aej ,,index #aeg ,,list ,,of ,,illustrations ,,to ,,face ,,plate ,,page ,i4 ,,general ,,view of the ,interior of ,siena ,cathedral1 showing the ,pavement #a ,,ii4 ,,the ,,entire ,,pavement #ad ,key ,plan to the same1 page #ae4 ,,iii4 ,,hermes ,,trismegistus1 designed by ,giovanni di ,maestro ,stefano #ba ,,iv4 ,,the ,,badges ,,of ,,siena ,,and ,,the ,,confederate ,,cities1 #acgc4 7,author unknown7 #bd ,v4 ,,an ,,allegory ,,of ,,fortune1 designed by ,pinturicchio #bg ,,vi4 ,,the ,,wheel ,,of ,,fortune1 #acgb4 7,author unknown7 #cj ,,vii4 ,,the ,,samian ,,sibyl1 designed by ,matteo di ,giovanni ,bartoli #de ,,viii4 ,,the ,,hellespontine ,,sibyl1 designed by ,neroccio di ,landi #dh ,,ix4 ,,the ,,expulsion ,,of ,,herod1 designed by ,benvenuto di ,giovanni del ,guasta 7the entire panel7 #ee ,x4 ,,the ,,chief ,,portion ,,of ,,the ,,same ,,panel1 7in large size to show details7 #ef ,,xi4 ,,detail ,,of ,,the ,,frieze ,,of ,,lions1 designed by ,bastiano di ,francesco #eh ,,xii4 ,,the ,,massacre ,,of ,,the ,,innocents1 designed by ,matteo di ,giovanni ,bartoli 7the entire panel7 #fa ,,xiii4 ,,the ,,chief ,,portion ,,of ,,the ,,same ,,panel1 7in large size to show details7 #fb ,,xiv4 ,,the ,,relief ,,of ,,bethulia1 designed by ,urbano da ,cortona7871 or ,matteo di ,giovanni ,bartoli7871 executed by ,antonio ,federighi #fd ,,xv4 ,,detail ,,from ,,the ,,same ,,panel #ff ,,xvi4 ,,another ,,detail ,,from ,,the ,,same ,,panel #fh ,,xvii4 ,,the ,,story ,,of ,,absalom1 by ,pietro del ,minella #gi ,,xviii4 ,,the ,,seven ,,ages ,,of ,,man1 designed by ,antonio ,federighi #he ,,xix4 ,,elijah',s ,,compact ,,with ,,ahab1 designed by ,domenico ,beccafumi #ii ,,xx4 ,,samson ,,and ,,the ,,philistines1 designed by ,paolo di ,martino #aaa ,,xxi4 ,,the ,,emperor ,,sigismund1 designed by ,domenico di ,bartoli d',asciano #aac ,,xxii4 ,a ,,candlestick1 designed by ,antonio ,federighi #aai ,,xxiii4 ,,detail ,,from ,,the ,,story ,,of ,,jephthah1 designed by ,bastiano di ,francesco #abi ,,xxiv4 ,,drawings ,,of ,,details4 ,the lily designed by ,antonio ,federighi7872 border ,a designed by ,domenico ,beccafumi #acg ,,xxv4 ,,the ,,story ,,of ,,moses ,,and ,,the ,,tables ,,of ,,the ,,law1 designed by ,domenico ,beccafumi #aci ,,xxvi4 ,,elijah ,,caught ,,up ,,to ,,heaven 7from the drawing by ,prof4 ,alessandro ,franchi7 #aed ,,authorities ,,consulted ,milanesi 7,gaetano74 ,documenti per la ,storia dell' ,arte ,senese4 7,porri1 ,siena1 #ahef74 ,sulla ,storia dell' ,arte ,toscana1 ,scritti ,varii4 7,discorso sulla ,storia ,artistica ,senese47 7,sordo-,muti1 ,siena1 #ahgc47 ,,ms4 ,notes on the ,pavement4 ,bib4 ,pubb4 ,siena4 ,cod4 ,p4 ,,iii41 #bh4 ,commentario sulle ,vite di piu eccellenti ,pittori1 ,scultori ed ,architettori da ,giorgio ,vasari1 vols4 i4 and v4 7,g4 ,c4 ,sansone1 ,firenze1 #ahhj-ha47 ,borghesi 7,s47 and ,bianchi 7,l474 ,nuovi ,documenti per la ,storia dell' ,arte ,senese4 7,torrini1 ,siena1 #ahih47 ,,ms4 ,notes on the ,pavement1 etc41 etc41 etc4 ,bib4 ,pubb4 ,siena1 ,cod4 ,p4 ,,ii4 ,faluschi 7,abate ,gioacchino74 ,,ms4 ,notes1 ,bib4 ,pubb4 ,siena4 ,cod4 ,e4 ,v4 #ac and ,e4 ,v4 #af4 ,tizio 7,sigismondo74 ,historiarum ,senensium1 vols4 iv41 v41 vi4 ,,ms4 ,bib4 ,pubb4 ,siena1 ,cod4 ,b4 ,,iii41 #i1 #aj1 #aa4 ,ciaccheri 7,abate ,giuseppe74 ,,ms4 ,notes1 ,bib4 ,pubb4 ,siena4 ,della ,valle 7,padre ,guglielmo74 ,lettere ,senesi1 vol4 iii4 7,descrizione del ,pavimento1 by ,alfonso ,landi47 7,giovanni ,zempel1 ,rome1 #aghg47 ,ugurgieri-,azzolini 7,padre ,isidoro74 ,pompe ,senese4 7,pistoia1 #afdi47 ,gigli 7,girolamo74 ,diario ,senese4 7,lucca1 #agbc47 ,de ,angelis 7,padre74 ,vita di ,beato ,pier ,pettinaio4 7,siena1 #ahjb47 ,repetti 7,emanuele74 ,dizionario ,geografico-,fisico-,storico della ,toscana4 7,tofani1 ,firenze1 #ahcc-de47 ,micheli 7,prof4 ,padre ,everardo74 ,siena e il suo ,territorio4 7,edifizi ,religiosi e ,civili74 7,sordo-,muti1 ,siena1 #ahfb47 ,il ,pavimento dei ,duomo di ,siena4 7,sordo-,muti1 ,siena1 #ahgj47 ,la ,guida ,artistica della ,citta e ,contorni di ,siena4 7,sordo-,muti1 ,siena1 #ahhc47 ,benci 7,gusmano74 ,ricordi ,artistici di ,siena4 7,sordo-,muti1 ,siena1 #ahge47 ,album di ,storia ,patria4 ,bozzetti ,repubblicani ,senesi1 vol4 i4 ,domenico ,beccafumi4 7,giulio ,mucci1 ,siena1 #ahge47 ,mussini 7,luigi74 ,le ,tavole della ,biccherna e della ,gabella della ,repubblica di ,siena4 7,bargellini1 ,siena1 #ahgg47 ,il ,pavimento dei ,duomo di ,siena e il ,prof4 ,alessandro ,franchi4 7,le ,monnier1 ,firenze1 #ahhj47 ,rubini 7,ferdinando74 ,dei ,restauri eseguiti nella ,chiesa ,metropolitana in ,siena dal ,luglio1 #ahfd1 al #ca ,dicembre1 #ahgh4 7,bargellini1 ,siena1 #ahfi and #ahgi47 ,ridolfi 7,e474 ,l',arte in ,lucca1 studiata nella sua ,cattedrale4 7,lucca1 #ahhb47 ,lusini 7,v474 ,storia della ,basilica di ,s4 ,francesco in ,siena4 7,siena1 #ahid47 ,miscellanea ,storica ,senese1 ,gennaio-,febbraio1 #ahih4 7,torrini1 ,siena1 #ahih47 ,sismondi 7,jean ,ch4 ,l4 ,simonde de74 ,histoire des ,rpubliques ,italiennes du ,moyen ,age4 7,treuttel et ,wrtz1 ,paris1 #ahah47 ,piper 7,ferdinand74 ,mythologie der christlichen ,kunst1 vol4 i4 7,weimar1 #ahdg47 ,richter 7,luise ,m474 ,siena4 7,seeman1 ,leipzig and ,berlin1 #aija47 ,justi 7,cari74 ,michelangelo4 7#aija47 ,wagner 7,hans ,joachim74 ,domenico di ,bartolo ,ghezzi4 ,v4 ,teil der von einer hohen ,fakultt angenommen ,abhandlung4 ,das ,dompaviment von ,siena und seine ,meister4 7,w4 ,fr4 ,kstner1 ,gttingen1 #ahih47 ,lindsay 7,lord74 ,sketches of the ,history of ,christian ,art1 vol4 ii4 ,berenson 7,bernhard74 ,central ,italian ,painters4 7,putnam1 ,london and ,new ,york1 #ahii47 ,symonds 7,john ,addington74 ,introduction to the ,study of ,dante4 7,a4 and ,c4 ,black1 ,london1 #ahic47 ,norton 7,charles ,e474 ,church ,building in the ,middle ,ages4 7,harpers1 ,new ,york1 #ahhj47 ,encyclopdia ,britannica4 7#ahhj71 ,hermes ,trismegistus3 ,sibyls4 ,,the ,,scheme ,,of ,,the ,,pavement ---------------------------------------- ---------------------------------------- ---------------------------------------- -- ,date the ,numbers ,the various designs on the ,notes4 work was corresponding ,names of the ,artists4 pavement arranged in their executed4 to those on the chronological order4 plan 7p4 #ae74 ---------------------------------------- ---------------------------------------- ---------------------------------------- -- ,of these eight artists' #acfi 7#a74 ,antonio di ,brunaccio4 work on the ,pavement1 #acgj 7#b74 ,sano di ,marco4 no recognizable trace 0 7#c74 ,francesco di ,ser now remains4 ,antonio4 #acgf 7#d74 ,matteo di ,bartolo4 #achj 7#e74 ,nanni di ,corsino4 #acih 7#f74 ,sano di ,maestro ,matteo4 0 7#g74 ,luca di ,cecco4 #adje 7#h74 ,cecco di ,giovanni4 ,fortune's ,wheel revolving with figures of men clinging to it4 ,in the four corners of the picture are half-length portraits of ,euripides1 ,seneca1 ,epictetus1 and ,aristotle4 7,milanesi4 ,documenti4 ,vol4 i41 p4 #agg47 #acgb #cg ,the ,arms of the ,cities allied and friendly to ,siena4 7,ditto47 #acgc #cd ,a ,wheel1 in the middle of which is the ,imperial ,eagle #acgc787 #ce ,the ,parable of the ,mote and the ,beam #acgd-e #ch ,temperance ,the frieze of zig-zags #achj #ag ,prudence and spikes which frames 0 #ah ,christian ,piety the five figures ,nos4 #ag-ba1 #adjf #ai ,justice also dates from #adjf4 0 #bj ,fortitude4 7,mil4 ,doc41 vol4 i41 0 #ba 7#i74 ,marchesse d',adamo p4 #agg7 and the ,comacene ,masters in stone4 ,king ,david the ,psalmist4 7,siena 7#aj74 ,domenico di ,niccolo e il suo ,territorio1 p4 #bje47 #adbc #ec del ,coro4 ,goliath the ,giant4 7,ditto47 0 #ed 0 ,the ,young ,david with his ,sling ,the frieze inclosing 7,ditto47 all these designs1 together 0 #ee 0 ,judas ,maccabeus with ,no4 #bd1 was inlaid #adbd #ae 0 ,joshua and the ,king of the ,amorites4 by 7#aa7 ,agostino di ,niccolo1 ,ditto47 and 7#ab7 ,bastiano #adbf #bb 7#ac7 ,paolo di ,martino4 ,samson4 7,ditto47 di ,corso da ,firenze1 and 0 #ad 0 ,moses4 7,ditto47 completed in #adbc4 0 #af 0 ,joshua4 7,ditto47 0 #bc 0 ,a man1 giving alms to a woman1 carrying a child #adcc #ci ,domenico di ,niccolo del ,coro4 ,the ,emperor ,sigismund enthroned4 ,designed by 7#ad7 ,domenico 7,mil4 ,doc41 vol4 ii41 p4 #bfa47 #adcd #ac di ,bartolo da ,asciano4 ,executed by ,the ,story of ,absalom4 7,siena e 7#ae7 ,giacomo d',antonio4 il suo ,territorio47 #addg #ab ,designed by 7#af7 ,pietro del ,minella4 ,solomon 0 #bd ,the ,parable of the ,pharisee and ,these three designs the ,publican are in the doorways of #addh #eg ,a ,jar1 labelled ,fel 7,gall7 the principal faade4 0 #eh ,a similar ,jar1 labelled ,mel 7,honey7 0 #ei ,three designs before doors of ,designed by 7#ag7 ,nastagio ,baptistery4 7,the ,birth1 ,baptism1 di ,guasparre and and ,reception of an ,infant executed by 7#ah7 ,bartolomeo ,christian47 #adej di ,mariano1 called ,il ,mandriano1 and 7#ba7 ,antonio ,federighi4 ,design before the ,porta del ,perdono ,designed by 7#ai7 ,guasparre 7,consecration of the d',agostino and ,duomo by ,pope ,alexander ,,iii4 executed by 7#bj7 ,corso ,bandinelli in #aagd47 ,now destroyed4 #adea di ,bastiano4 ,the two ,blind men4 7,mil4 ,doc41 ,executed1 after his own vol4 ii41 p4 #dcg47 #adei #dj design1 by ,antonio ,federighi4 ,the ,relief of ,bethulia by ,judith4 ,the frieze of ,reels #adgc #be ,designed by 7#bb7 ,urbano around this design was da ,cortona787 or by executed by the said ,urbano1 7#bc7 ,matteo di ,giovanni 7#bd7 ,giovanni di ,bartoli4787 ,executed by ,maestro ,stefano1 7#be7 ,antonio ,federighi4 ,bartolommeo di ,domenico ,calabrone1 and 7#bf7 ,francesco di ,bartolomeo4 ,the ,seven ,ages of ,man ,around it is a frieze of #adge #f ,executed by ,antonio stags1 by the same artist4 ,federighi4 ,the ,massacre of the ,innocents4 #adha #bf ,designed by ,matteo di ,giovanni ,bartoli4 ,the ,delphic ,sibyl #adhb #a ,executed by 7#bg7 ,giuliano di ,biagio and 7#bh7 ,vito di ,marco4 ,the ,cumean ,sibyl 0 #b ,executed by 7#bi7 ,luigi di ,ruggiero1 called ,l',armellino1 and ,vito di ,marco4 ,the ,cuman ,sibyl 0 #c ,giovanni di ,maestro ,stefano4 ,the ,erythrean ,sibyl 0 #d ,antonio ,federighi4 ,the ,persian ,sibyl 0 #e ,urbano di ,pietro da ,cortona4 ,the ,sacrifice of ,jephthah #adhc #aa ,designed and executed by 7#cj7 ,bastiano di ,francesco di ,sano4 ,the ,albunean ,sibyl ,who executed these 0 #bh ,designed by 7#ca7 ,benvenuto five ,sibyls is not known1 ,giovanni del ,guasta4 but it seems possible ,the ,samian ,sibyl that1 amongst other masters1 #adhc #bi ,designed by ,matteo di ,giuliano di ,biagio may have ,giovanni ,bartoli4 worked on them4 ,the ,phrygian ,sibyl 0 #cj ,luigi di ,ruggiero1 called ,l',armellino787 and ,vito di ,marco7874 ,the ,hellespontine ,sibyl 0 #ca ,designed by 7#cb7 ,neroccio di ,bartolommeo ,landi4 ,the ,libyan ,sibyl 0 #cb ,designed by 7#cc7 ,guidoccio ,cozzarelli4 ,the ,expulsion of ,herod ,the frieze of winged #adhd #bg ,designed by ,benvenuto lions which surrounds di ,giovanni del ,guasta4 this picture1 was designed by ,bastiano di ,francesco di ,sano4 ,upon this picture and upon ,no4 #bf 7above-mentioned71 the following artists were also employed3 ,vito di ,marco1 7#cd7 ,bernardino d',antonio1 7#ce7 ,cristofano di ,pietro ,paolo del ,quarantotto1 and ,bartolomeo di ,domenico ,calabrone4 ,mercurius ,trismegistus #adhh #cc ,designed by ,giovanni di ,maestro ,stefano787 ,an ,allegory of ,fortune4 7,mil4 ,doc41 vol4 iii41 p4 #ac47 #aeje-f #cf ,designed by 7#cf7 ,bernardino ,betti1 called ,pinturicchio1 and executed by 7#cg7 ,paolo ,mannucci4 ,the ,story of ,elijah and ,ahab ,elijah's ,sacrifice #aeah-bd #da ,designed by 7#ch7 ,domenico ,beccafumi1 called ,the ,compact between ,elijah and ,mecherino1 and executed ,ahab1 each to prove the ,truth at the same time by 7#ci7 of his ,deity by ,sacrifice #db ,bernardino di ,giacomo1 7#dj7 ,giovann' ,antonio ,marinelli1 ,the ,slaughter of the ,false ,prophets surnamed il ,mugnaino1 of ,baal #dc 7#da7 ,giacomo1 and 7#db7 ,bartolommeo di ,pietro ,gallo1 ,ahab's ,sacrifice #dd 7#dc7 ,niccolo ,filippi1 and 7#dd7 ,cristofano di ,carbone4 ,elijah bids ,obadiah bring ,ahab to him #de ,ahab meets ,elijah #df ,moses striking the ,rock #aebe #ea ,moses receives the ,tables of the ,law on ,mount ,sinai4 7,this picture is divided into six parts47 #aeca #eb 77 ,moses receives the ,tables of the ,law4 77 ,the ,hebrew ,people wait for ,moses' ,descent from the ,mount4 77 ,the ,destruction of the idolatrous ,hebrews4 77 ,moses breaks the ,tables of ,stone4 77 ,the ,hebrews sacrifice to the ,golden ,calf4 77 ,the ,hebrews compel ,aaron to make them idols4 ,the ,story of ,abraham's ,sacrifice4 #aedd-df #ef ,designed by ,domenico ,at the side of this large picture1 ,beccafumi and executed which is placed before the ,high by ,bernardino di ,giacomo4 ,altar1 and on either side of the ,altar itself1 are fourteen other small pictures1 seven on each side4 ,these represent3 ,on the right3 #a4 ,elisha raises the son of the ,shunammite4 #b4 ,a ,prophet1 with an open book before him4 #c4 ,eve kneeling4 #d4 ,a ,woman1 with an open book in her hand4 #e4 ,a ,woman holding a hand-mirror1 who represents 8,prudence40 #f4 ,melchisedec ,sacrificing4 #g4 ,a seated ,woman1 with a ,child4 ,on the left3 #h4 ,the old ,tobit with his ,son1 and the ,angel ,raphael4 ,at his feet a dog4 #i4 ,a ,woman1 representing 8,charity40 #aj4 ,adam kneeling4 #aa4 ,a ,prophet1 looking up to ,heaven4 #ab4 ,a seated ,woman1 with a book in her hand4 #ac4 ,abel ,sacrificing4 #ad4 ,a ,woman1 in the act of sitting down1 with a ,child444 ,designed by ,domenico ,the large picture and the smaller ,beccafumi and executed ones are framed by a frieze of by 7#de7 ,pellegrino di half-length figures1 which represent ,pietro4 the ,hebrew ,people journeying from ,egypt towards the ,promised ,land4 ,elijah fed by ,ravens ,these four designs are #aghj #dg ,designed by 7#di7 ,carlo ,elijah anoints ,jehu ,king of ,israel usually attributed1 as is 0 #dh ,amidei1 and executed by ,elijah asks bread of the ,widow stated in col4 #e2 but1 as ,i 0 #di 7#ej7 ,matteo ,pini4 ,elijah raises the ,widow's son have argued at length in 0 #ej chap4 ii41 it is not improbable that they were originally designed by 7#df7 ,gio4 ,battista ,sozzini1 and executed by 7#dg7 ,niccolo di ,girolamo ,gori1 7#dh7 ,domenico di ,pier ,giovanni1 and ,bernardino di ,jacomo1 in #aefb4 ,hope ,originally designed in #g ,faith #aghj1 by ,carlo ,amidei #h ,charity and ,matteo ,pini1 but removed #i 7,see below47 ,religion in #ahgh4 #aj ,in #ahge-gh1 the scenes in the four lozenges1 ,nos4 #dg-ej1 by ,carlo ,amidei1 being considered unsatisfactory1 and the ancient scenes #ch1 #ci1 #dj1 being much dilapidated1 7#ea7 ,professor ,alessandro ,franchi prepared four new designs of the same subjects for the lozenges1 and three more subjects from the same story1 for the three hexagons4 ,namely3 7a7 ,elijah predicts the manner of ,ahab's death4 ,no4 #ci4a 7b7 ,ahab mortally wounded1 ,no4 #dj4 7c7 ,elijah carried to ,heaven in a ,chariot of ,fire1 ,no4 #ch4 ,these designs were executed by 7#eb7 ,prof4 ,leopoldo ,maccari1 with the assistance of the sculptors 7#ec7 ,antonio and 7#ed7 ,giuseppe ,radicchi4 ,the same artists also1 at the same date1 designed and executed1 respectively1 the figures of the four ,theological ,virtues 7,nos4 #g1 #h1 #i1 and #aj71 as we now see them4 ,illustration3 ,,lombardi ,,photo4 ,i4 ,,general ,,view ,,of ,,the ,,interior ,,of ,,siena ,,cathedral1 ,,showing ,,the ,,pavement 99 99 99 99 99 444 8,cast down thine eyes2 ',twere well for thee1 to alleviate the way1 ,to look upon the bed beneath thy feet4 99 99 99 99 99 ,so saw ,i there1 but of a better semblance ,in point of artifice1 with figures covered ,whate'er as pathway from the mount projects4 99 99 99 99 99 ,who e'er of pencil master was or stile1 ,that could portray the shades and traits which there ,would cause each subtile genius to admire8 ,dead seemed the dead1 the living seemed alive2 ,better than ,i saw not who saw the truth1 ,all that ,i trod upon while bowed ,i went4 8,la ,divina ,commedia0 of ,dante ,alighieri1 translated by ,h4 ,w4 ,longfellow4 99 99 99 99 99 444 ,volgi gli occhi in giue2 ,buon ti sar1 per alleggiar la via1 ,veder lo letto delle piante tue4 99 99 99 99 99 ,si vid' io li1 ma di miglior sembianza ,secondo l' artificio1 figurato ,quanto per via di fuor dal monte avanza4 99 99 99 99 99 ,qual di pennel fu maestro o di stile1 ,che ritraesse l'ombre e i tratti1 ch' ivi ,mirar farieno ogn' ingegno sottile8 ,morti li morti1 e i vivi parean vivi4 ,non vede me' di me chi vide il vero1 ,quant' io calcai fin che chinato givi4 8,la ,divina ,commedia0 di ,dante ,alighieri1 ,il ,purgatorio1 ,canto xii4 ,l4 #ac-ae1 #bb-bd1 #fd-fi4 ,,the ,,pavement ,,masters ,,of ,,siena ,,chapter ,i ,,history ,,of ,,the ,,pavement ,one might have supposed that when ,dante wrote the lines here quoted1 he was describing the wonderful pavement that still adorns the ,duomo of ,siena4 ,but this1 we know1 cannot be1 since it was not until more than thirty years after ,dante's death that the plans for a greatly enlarged ,duomo were abandoned1 and the ,sienese set themselves to adorn the building in the shape that we see it now4 ,moreover1 as we shall presently see1 no records of ornamental work done upon the floor exist earlier than #acfi4 ,we may1 however1 ,i think1 fairly turn the proposition the other way1 and fancy that the pavement designers had ,dante's wonderfully descriptive verses in their minds1 when they planned such a work4 ,their subjects and his differ vastly2 and in the two hundred years that passed1 ere it was in any sense completed1 many variations took place in the original design1 if complete design there ever was4 ,still we may feel1 on entering that glorious temple1 as if we were really treading the first parapet of ,purgatory1 as pictured by him4 ,although the order in which the stories meet our eyes does not in the least agree with the chronology of their execution1 a sense of fitness in position seems to run through them1 even from the great ,west ,door itself4 ,hermes ,trismegistus presenting to his disciples the ,poemander1 meets us on the very threshold of the ,nave1 supported in either aisle by the majestic figures of the ten ,sibyls2 and seems to lead the way1 through half-pagan symbolical designs1 to where1 surrounded by the histories of ,hebrew heroes and prophets1 the mystery of the ,atoning ,sacrifice of ,christ1 the ,very ,god1 the ,centre of all ,faith and ,prophecy is1 before the ,high ,altar itself1 symbolized by the ,sacrifice of ,isaac4 ,but this suggestion must not be pressed too far1 because1 as ,i have already remarked1 and as the accompanying plan will show1 many variations1 for which at first sight the reason is not very obvious1 have from time to time crept in4 ,for general purposes1 however1 the student of the floor may fairly start with some such complete conception4 ,from the admirably arranged ,archives1 both ,ecclesiastical and ,communal1 of the ,city of ,siena1 we are able to piece together a very nearly complete history of the work1 showing1 in most cases1 why certain exceptions probably were made2 and from them1 through the medium of the carefully compiled volumes of the late ,signor ,gaetano ,milanesi1 ,i have drawn most of the information which follows4#b ,vasari's statement1 so often quoted by subsequent writers1 that ,duccio made designs for this pavement1 is quite without documentary authority4#c ,duccio died more than fifteen years before the larger ,duomo scheme was finally abandoned2 whilst the earliest records dealing with work of a decorative nature#d is dated #acfi1 and runs as follows3 8a maestro ,antonio di ,brunaccio vintuna lire a cinque sol per ij braccia e due quarri di tarsie di marmo di lo spazzo di ,duomo40 ,in the following year 7#acgj7 we read 8a maestro ,sano di ,marco per dodici porporelle per lo spazzo di duomo1 a sol3 #aj l'una1 si danno ,l4 #f482 8a ,francesco di ,ser ,antonio per uno braccio e mezzo di compasso per detto spazzo a ragione d'otto lire e mezzo il braccio si danno lire #ab4 e soldi #ae10 and 8a maestro ,sano di ,marco per birichuocoli bianchi e rossi pello spazzo di duomo1 ,l4 #d4 soldi #h40e ,two years later1 according to the historian ,sigismondo ,tizio1 the ,pavement of the nave from the cupola downwards was begun1 and among other things was laid out 7spianata7 the design of the ,wheel of ,fortune1 with figures of men clinging to it4 ,and in the next year 7#acgc7 an old chronicler#f tells us that 8,in questo anno si fece il pavimento a pietre tassellate10 which no doubt refers to the circle containing the emblems of ,siena1 surrounded by those of the cities friendly and allied to her4 ,be it noted here that this is the only portion of the floor that is tessellated2 that is to say1 decorated with designs1 made up of small squares of different coloured stones1 in the manner of ordinary mosaic4 ,then1 in #acgd1 we find reference#g to work done1 under the direction of ,andrea di ,minuccio ,operaio1 at the foot of the ,choir2 which was at that date1 and until the commencement of the sixteenth century1 situated under the ,cupola4 ,again in #acgf1 #achj1 #acih and #adje1 we read of payments to certain master-workmen1 named ,matteo di ,bartolo1 ,nanni di ,corsino1 ,sano di ,matteo1 ,luca di ,ciecho 7or ,cecco71 and ,cecco di ,giovanni 7or ,giovannino di ,ciecho71 for intarsia work on the ,pavement1 apparently in decorative friezes1 some of which1 no doubt1 exist still1 though we cannot now identify them4 ,the first authoritative document1 however1 which speaks of figures on the ,pavement is an entry in the ,duomo ,archives1 under date ,march #acth1 #adjf1 which records the payment of #adj lire1 8e quali li debiamo dare10 to ,marchesse d',adamo 7perhaps a son of the architect1 ,maestro ,adamo71 8e compagni maestri di pietra da ,como per una rotta 7ruota7 anno fatto murare nello spazzo contra a la sagrestia40#h ,from the mention of its neighbourhood to the sacristy1 this must point to the circle containing the figure of ,fortitude1 ,no #ba1 from which1 alas6 restoration1 in #ahci1 has removed all ancient feeling1 and sadly reduced to the commonplace4 ,after this we find no entries until #adbc2 but from that time commences the real history of the ,pavement ,masters3 and we begin with perhaps the most interesting personage connected with it2 namely1 ,domenico di ,niccolo del ,coro1 who held the post of ,capo-maestro#i of the ,opera del ,duomo between the years #adac and #adbc4 ,it is not easy now to separate the work attributed to ,domenico from that of another artist1 ,paolo di ,martino1 who appears to have immediately succeeded ,domenico as ,capo-maestro4 ,we know1 however1 that the following portions of the floor were executed at that date3 #a4 ,david the ,psalmist1 surrounded by four ,musicians 7,no4 #ec74aj #b4 ,david the ,youth with his ,sling 7,no4 #ee74 #c4 ,the ,giant ,goliath falling backwards 7,no4 #ed74 #d4 ,moses 7,no4 #af74 #e4 ,samson chastising the ,philistines 7,no4 #ad74 #f4 ,judas ,maccabeus 7,no4 #ae74 #g4 ,joshua 7,no4 #bc74 #h4 ,the ,slaughter of the ,five ,kings of the ,amorites 7,no4 #bb74 ,of these eight subjects the first three may be with certainty given to ,domenico himself2 whilst ,nos4 #e and #h may be#aa ascribed to the other artist4 ,of the single figures that of ,judas ,maccabeus is so entirely concealed now by the balustrade of the altar of the ,blessed ,sacrament built over it1 that it is impossible to ascertain with any degree of absolute certainty who was its author2 but ,joshua and ,moses are given by ,milanesi to ,paolo di ,martino4 ,domenico seems to have been a great and versatile artist1 a worker in glass1#ab as well as in marble1 and above all famous for his skill in woodcarving and inlay4 ,the restorations of his work here1 which have evidently been frequent1 have robbed it of very much of the charm1 which we feel so strongly in his inlaid panels in the ,palazzo ,pubblico ,chapel1 but there is still a nave originality about the designs1 which cannot fail to show his high merit4 ,the next celebrated artist1 who left his mark on this floor was the painter1 ,domenico di ,bartolo di ,ghezzo of ,asciano1 whose charming design of the ,emperor ,sigismund enthroned1 ,no4 #ac1 is one of the most marked exceptions to the general scheme4 ,next we have ,pietro del ,minella1 the celebrated sculptor1 and a pupil of the still more famous ,giacomo della ,quercia4 ,he also left only one design1 but that perhaps the most striking in the entire floor3 ,absalom hanging by his hair1 ,no4 #ab4 ,then appears that great craftsman1 ,antonio ,federighi1 whose graceful 8,ages of ,man10 ,no4 #f1 would alone entitle him to take a high rank in the ,history of ,art4 ,the works of ,art left by this artist here and elsewhere are many1 and of a very varied description2 but we must now pass on to perhaps the most interesting and prolific period in the ,history of the ,duomo1 during which the floor was by no means left uncared for4 ,the ,city of ,siena outside was a prey to constant faction and civil disturbance1 but her ,duomo within1 under the fostering care and taste of the noble ,alberto ,aringhieri1 ,knight of ,rhodes and ,malta1 ,rettore from #adha-adih1 was steadily growing in beauty and splendour4 ,i cannot here enumerate all the embellishments added during this period to the fabric1 though among them ,i may name the decoration of the interior of the ,cupola3 the adornment of the ,chapel of ,s4 ,giovanni1 where may still be seen ,pinturicchio's beautiful portraits of ,aringhieri himself in youth and age3 and the frieze of ,papal busts that runs round the entire building4 ,aringhieri collected around him a band of artists1 eminent already as painters and sculptors2 among whom was ,federighi himself4 ,from the designs and with the skill of these1 he completed the floor of the ,north and ,south ,transepts2 both the ,aisles and the last bay of the ,nave4 ,whether1 as is possible1 he was influenced in his choice of subjects by external historical events1 we cannot now say2 but some at least of the designs1 while appropriate to the general idea of the whole1 appear to have a possible political significance4 ,thus the 8,massacre of the ,innocents10 ,no4 #bf1 designed by ,matteo di ,giovanni ,bartoli1 may have been chosen to commemorate the terrifying episodes that occurred during the ,sack of ,otranto by the ,turks2 and the ,expulsion of ,herod1 ,no4 #bg1 the ,fall of ,pandolfo ,petrucci and his faction4 ,whether this was so or not1 the works of this period are among the finest and noblest designs on the entire floor4 ,the later work of ,beccafumi may be more realistic1 but nothing can surpass the force and feeling of power exhibited in the fourteen designs1 which date their origin from this period4 ,in #aeje-f was added ,pinturicchio's 8,allegory of ,fortune10 ,no4 #cf2 and shortly after an important change in the interior arrangement of the building1 by exposing a great deal of floor space1 necessitated the addition of a large number of fresh designs1 which ,domenico ,beccafumi 7il ,mecarino7 called upon to supply4 ,this change was the removal1 under the direction of ,baldassare ,peruzzi1 ,capo-maestro in #aecb1 of the ,high ,altar1 which had hitherto stood under the ,cupola1 to their present position1 further east in the ,apse4 ,beccafumi had previously1 in #aebe and #aeca1 designed his scenes from the ,life of ,moses1 ,nos4 #ea and #eb1 and he now1 in #aedd-df1 was commissioned to make designs to surround the ,altar-steps4 ,of the history of the ,elijah designs1 ,nos4 #da-df1 under the ,cupola1 attributed to him1 ,i wish to speak at greater length1 so ,i will reserve the details concerning them until the next chapter4 ,in #affa the building of the ,cappella del ,voto by ,pope ,alexander ,,vii4 destroyed the ancient ,porta del ,perdono2 and the scene representing the ,consecration of the ,cathedral1 designed by ,guasparre d',agostino1 and executed by ,corso di ,bastiano in #adea1 which formerly lay before that door1 was ruthlessly destroyed4 ,in #agej1 certain ,virtues1 ,nos4 #g1 #h1 #i1 #aj1 were designed by ,carlo ,amidei for the entrance to the above-mentioned chapel4 ,this artist also restored a good many of the older designs1 and added1 it is generally assumed1 four lozenges to the story of ,elijah1 ,nos4 #dg-ej1 under the ,cupola4 ,these were all considered worthless and removed in #ahge to make way for new designs by ,sig4 ,prof4 ,alessandro ,franchi1 the present ,director of the ,accademia delle ,belle ,arti4 ,this accomplished gentleman also designed three hexagons to complete the ,story of ,elijah1 ,nos4 #ch1 #ci and #dj1 and to fill spaces1 up to that time occupied by fragments of older work1 brought from other parts of the ,cathedral4 ,these designs were all executed under his direction by ,signor ,leopoldo ,maccari in #ahgh4ac ,between the years #ahfd and #ahgh a complete restoration of the whole floor has taken place4 ,much time and money have been expended upon the work1 and the result is1 on the whole1 not unsatisfactory2 but the effects of previous restorations by less sympathetic hands in certain parts is painfully apparent4 ,some of the work1 beautiful still1 but too much injured to remain in situ has been removed to the ,museum of the ,opera del ,duomo1 and replaced by copies4 ,this ,pavement1 in spite of the opinions of those who consider pictorial design unsuitable floor decoration1 is a never-ending source of joy and pleasing suggestion3 an unique tour de force1 and a stroke of genius on the part of the original designers4 ,except during the month of ,august1 the entire centre portion from the ,west door to the ,high ,altar itself is carefully protected by boarding4 ,when this is removed1 and the whole vista is spread out before one1 it would be hard to imagine any other species of floor1 that would have so satisfactorily completed the many-coloured interior harmonies of this wonderful ,cathedral4 ,,chapter ,,ii ,,the ,,pavement ,having briefly sketched the history of the entire ,pavement1 it will be necessary now to describe it in detail4 ,for this purpose ,i have divided it into ten parts1 commencing at the great ,western ,entrance4 ,these ten parts are as follows3 #a4 ,the wide ,platform before the ,faade4 #b4 ,the ,spaces in the three ,western ,doorways4 #c4 ,the ,nave4 #d4 ,the ,south ,aisle4 #e4 ,the ,north ,aisle4 #f4 ,the ,north ,transept4 #g4 ,the ,choir ,ambulatory4 #h4 ,the ,south ,transept4 #i4 ,the ,choir and ,altar-steps4 #aj4 ,under the ,cupola4 ,illustration3 ,,lombardi ,,photo4 ,,ii4 ,,the ,,entire ,,pavement ,illustration3 ,,key ,,plan ,,to ,,the ,,pavement #a4 ,,the ,,platform ,,before ,,the ,,western ,,fa,,ade4 ,tizio#ad tells us that this platform with its three steps was laid down in #addh1 under the direction of ,giovanni ,borghesi1 then ,rettore of the ,opera4 ,originally there were apparently five designs upon it1 of which1 however1 only four were still distinguishable when1 in the seventeenth century1 ,landi wrote his elaborate description of the floor4#ae ,these were3 ,in the centre1 as at present1 the ,pharisee and the ,publican kneeling before a round ,temple3 ,on either side a vase2 the one inscribed ,mel 7,honey71 the other ,fel 7,gall71 symbolic perhaps of the imperfection of earthly joys4 ,on the right-hand side on entering was the ,sacrifice of ,abel2 and on the other side1 ,landi says1 that there was no pictured design1 but merely a fancy pattern of coloured marbles1 probably replacing a scene previously destroyed by time and hard usage4 ,the constant stream of traffic across this ,platform has necessitated frequent restoration of the ,pavement2 and the story of ,abel has now entirely vanished4 ,the vase1 also1 on the right1 now bears the label ,lac 7,milk71 instead of ,fel1 perhaps in allusion to the ,promised ,land1 and the ,golden ,jerusalem of ,bernard of ,clairvaux's hymn4 ,this work is executed in the earliest of the four principal methods of design3 namely a trapano2 that is to say1 outlined on a slab of white marble in little dots made with a trepanning drill4 ,the figures of the ,pharisee and the ,publican are executed with great spirit1 but are entirely modern in feeling and conception4#af ,each figure is formed of a slab or slabs of white marble1 cut in outline1 and let into a background1 of which the atmosphere is black and the ground red marble1 so that each figure stands out clear and distinct4 ,lines of feature1 folds of robes and other accessories are outlined1 as described above1 with a trepanning drill4 ,certain pieces of yellow marble have been added at the sides of the picture1 which seem unnecessary and even discordant4 ,they may have been placed there during the restorations which took place here but a few years since4 #b4 ,,the ,,spaces ,,in ,,the ,,three ,,doorways ,,of ,,the ,,western ,,fa,,ade4 ,the three much-worn scenes that remain here evidently represent the 8,ceremonies of ,ordination0 in the three degrees2 and such is the opinion of ,faluschi1 ,landi1 and ,della ,valle4 ,padre ,everardo ,micheli1 however1 wishes us to believe that these scenes illustrate the 8,reconciliation of the ,penitent30 a proposition which seems to me both far-fetched and improbable4 ,these works1 executed in the same methods and with the same materials as those just described1 retain far more of their original feeling and sentiment2 and it is interesting to compare them with a similar set in the doorways of ,san ,giovanni 7the ,baptistery71 which represent the 8,birth10 8,baptism10 and 8,anointing of an ,infant ,christian40 ,in the first case we have1 to the extreme right1 the 8,ordination of the ,deacon20 next1 that 8of the ,priest20 and1 finally1 that 8of the ,bishop40 ,in the other1 to the extreme left1 is the 8,birth of the ,child0 7a composition curiously similar to that employed by many painters at this period for the ,birth of ,st4 ,john the ,baptist73 then 8,its ,baptism20 and lastly1 8,its ,anointing and ,reception into the ,church of ,christ40 ,of these three scenes1 commenced in #adej by a certain ,bartolomeo di ,mariano1 called ,il ,mandriano1 from designs made by one ,nastagio di ,guasparre2 that in the centre1 which we read was executed by ,antonio ,federighi 7#adea71ag is very much the finest1 although there is a certain similarity in general conception throughout4 ,on further research1 we find that a certain ,guasparre1 described as 8dipentore nostro10 made a design for the space before the door for the then existing ,porta del ,perdono4#ah ,this design represented the 8,consecration of the ,duomo0 in #aagd1ai and was executed by ,corso di ,bastiano of ,florence4 ,now ,guasparre d',agostino1 also designated as 8nostro dipentore18#bj about this same time painted certain scenes from the ,life of ,s4 ,bernardino for the ,sacristy of the ,duomo1 and also decorated the apse of the ,baptistery with frescoes of the 8,crucifixion and ,burial of ,christ40#ba ,we may not unreasonably suppose that the above-mentioned ,nastagio was his son or pupil1 and that the father and son1 or master and pupil1 were associated together in all these similar works around the doors of the ,cathedral and ,baptistery4 ,unfortunately the work known to have been designed by ,guasparre before the ,porta del ,perdono was1 together with that entrance itself1 ruthlessly destroyed in #affa1 so that we have nothing certain remaining of his ,pavement work upon which to start comparison4 ,the force and charm1 however1 of the compositions1 still existing before the ,western ,doorway of the ,cathedral2 show that they must have been executed from the designs of no mean or inferior draughtsman4 ,we find also several references at this date1#bb to work done outside the ,duomo by ,bastiano di ,corso1 a ,florentine1 fine work by whom1 as we shall see presently1 still exists inside also2 but it is not easy to identify the exact portion laid down by him and his son ,corso1 who1 as we have seen above1 was employed on the work before the ,porta del ,perdono4 ,it is interesting to notice how sharp and clear is the trepanning work in the older of these designs1 and how close together the points have been drilled4 ,it would appear as if1 contrary to the method employed in the more modern work1 no graving tool had been used1 nor any stucco to fill up the holes and outlines4 99 99 99 99 99 ,and now we enter the ,church4 #c4 ,,the ,,nave4 ,the first thing that meets the eye is an inscription3 8,,castissimum ,,virginis ,,templum ,,caste ,,memento ,,ingredi40 ,it is unknown by whom1 or when1 this inscription was laid down1 but it is possible that it was introduced at the same time as the design which follows it4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,giovanni ,,di ,,maestro ,,stefano 787 ,,iii4 ,,hermes ,,trismegistus 7,no4 #cc7 ,beyond this appears the commanding figure of a man in a high crowned head-dress1 apparently an ,eastern ,sage1 holding out with his right hand1 to two other men1 a book inscribed ,,suscipite ,o ,,licteras ,,et ,,leges ,,egyptii2 while with his left1 he points to a quotation on a slab supported by two winged sphinxes4 ,the principal figure represents the semi-mythical ,hermes ,mercurius ,trismegistus1 who1 as we read below1 was 8,contemporaneus ,moysi40 ,the two men1 one old and turbaned1 and the other veiled1 may perhaps typify the learned men of the ,east and ,west4 7,ill4 ,,iii47 ,the introduction of this mysterious personage1 whose very existence is extremely doubtful1 is most interesting to the student of ,renaissance philosophical and theological ideas4 ,since to his fabled authorship are attributed a vast number of works dealing with ancient wisdom and religious belief1 as well as many treatises on ecclesiastical ceremonial1 the placing of him on the threshold of this magnificent ,temple is not without appropriate suggestion4 ,from the principal work attributed to him 8the ,poemander01#bc is drawn the quotation inscribed on the slab beside him here2 and the enthusiastic attitudes of the two ,seekers after ,knowledge before him are very forcibly expressed4 ,this admirable design was placed here in #adhh1 under the ,rectorship of ,alberto ,aringhieri1 mentioned in the last chapter4 ,he1 being a ,knight of ,st4 ,john of ,jerusalem and of ,rhodes1 must have been familiar with the mystical tastes and theories of those who endeavoured to bring the learning1 lore1 and art of ,pagan ideals into line with ,christian ,dogma and ,faith4 ,hence the choice under his direction of this subject1 and1 as we shall presently see1 of the ten ,sibyls also4 ,it is not definitely known who designed this group2 but it is generally supposed1 with considerable show of reason1 to have been ,giovanni di ,maestro ,stefano3#bd and it appears to have been the last of the series commissioned by ,aringhieri1 as ,rettore1 since his occupation of that post ended in #adih4be ,he seems1 though1 seven years later1 to have commissioned ,pinturicchio's 8,allegory of ,fortune40 ,the next design is that of the ,badges or ,emblems of ,siena1 surrounded by those of her allies4 ,in the middle is the ,wolf of ,siena suckling the ,twins4 ,in a circle round her are the symbols of the following cities2 ,florence 7a ,lion1 the 8,marzocco072 ,lucca 7a ,lynx72 ,pisa 7a ,hare72 ,viterbo 7an ,unicorn72 ,perugia 7a ,stork72 ,rome 7an ,elephant bearing a ,tower72 ,orvieto 7a ,goose72 and ,arezzo 7a ,horse74 ,in the four corners of the surrounding square are1 ,massa 7a smaller ,lion72 ,grosseto 7a ,goat72 ,volterra 7a ,vulture72 and ,pistoia 7a ,dragon74 7,ill4 ,,iv47 ,illustration3 ,,lombardi ,,photo4 #acgc4 ,,author ,,unknown ,,iv4 ,,the ,,badges ,,of ,,siena ,,and ,,the ,,confederate ,,cities 7,no4 #cd7 7,the only panel in mosaic7 ,this1 the only portion of the ,pavement that is really executed in mosaic1 was1 as we have seen already1 laid down in #acgc2 but we are unable to trace the author4 ,fragments of the original work are still existing in the ,museum of the ,opera2 but the whole design has been replaced by a modern copy1 carefully made by ,sig4 ,maccari in #ahfe4bf ,beyond this is a large geometrical pattern4 ,a wheel with twenty-four columnar spokes1 in the centre of which appears the ,imperial ,eagle4 ,of this design little or nothing is known2 but the author of ,la ,guida ,artistica supposes it to have been of the same date as that last described 7#acgc74 ,it is possible that1 before the days of ,alberto ,aringhieri1 the whole of the ,nave floor1 except 8,fortune's ,wheel10 in the first bay1 may have been covered with geometrical or heraldic devices only1 as can be seen at ,lucca1 and that all of them1 except these last two1 were removed to make way for other more interesting subjects4 ,the next scene is ,pinturicchio's well-known design1 called in the old documents 8,la ,storia della ,fortuna40 ,it might just as well though be designated as 8the ,reward of ,virtue10 or the 8,pursuit of ,wisdom40 7,ill4 ,v47 ,wisdom1 a sedate woman1 royally robed1 veiled1 and crowned with a jewelled wreath1 is throned upon the upper platform of a small precipitous rock in the midst of the sea4 ,the platform is covered with growing flowers1 as is also the winding path which leads to it4 ,on ,wisdom's right hand stands ,socrates1 holding a book1 to whom she offers a branch of palm4 ,on her left is ,crates1 who is hastily emptying into the sea a basketful of rings1 chains1 and other jewels4 ,to him she extends a closed volume4 ,over the head of ,wisdom1 on a tablet1 appears the following inscription3 ,,huc ,,properate ,,viri1 ,,salebrosum ,,scandite ,,montem ,,pulchra ,,laboris ,,erunt ,,premia ,,palma ,,quies4 ,on the path below1 which1 besides flowers1 is strewn with stones and over-run with reptiles and small animals1 is a crowd of ten men1 seekers after ,wisdom1 who apparently have just been landed upon the ,island by ,fortune4 ,the attitudes of these men1 some of whom at least appear to be portraits1 are very striking4 ,alone at the head of the procession strides a stately personage--a patron perhaps of art and learning4 ,next to him an old man1 leaning on a crutch-handled staff1 plods determinedly along4 ,following him1 a younger man looks back and shakes his fist at ,fortune4 ,behind him stand six figures with varied expressions of interest or desire4 ,in front of them an elderly man with a beard has sunk down exhausted1 his book clasped in his left arm1 too weary to move on4 ,on the extreme right of the picture stands ,fortune1 a nude woman with a cornucopia in her right hand4 ,she is the most striking figure in the composition4 ,her left foot is resting on a globe1 perhaps to indicate her instability1 while with her right she seems to push off the boat1 shattered and broken-masted1 in which these travellers have journeyed to the island4 ,above her head she holds a sail1 which the wind has filled out1 one end of which1 wound round her body1 is grasped also by her right hand4 ,obviously this design is one of those conceits so dear to the ,renaissance mind4 ,fortune has1 with favouring breeze1 but through stormy waters1 brought the seekers after ,knowledge to the ,mount of ,wisdom2 and the artist has endeavoured in these ten figures to symbolize the varied character of her votaries4 ,socrates stands calmly waiting for his reward2 ,crates earns his by contempt of all things worldly4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,pinturicchio ,v4 ,,an ,,allegory ,,of ,,fortune 7,no4 #cf7 ,pinturicchio received on the #acth of ,march1 #aejd1bg twelve lire for this design1 which was laid down under his direction1 probably by ,paolo ,mannucci1 in #aejf4bh ,the last design in the ,nave is perhaps the oldest of all2 but the actual piece of ,pavement that we now see is a complete renovation by ,signor ,maccari in ,december1 #ahfd1 costing #b1dia lire #ih c4 ,tizio#bi tells us that it was executed in #acgb1 and though he does not say who was the author of the design1 or who executed the work1 we know that ,andrea di ,minuccio was ,operaio at this time1#cj and that under his direction1 two years later1 the work at 8the foot of the ,choir0 was completed4 ,we see a wheel with eight columnar spokes4 ,to give an effect of rotatory motion1 the border is inlaid in small lozenges of black and white marble1 arranged to represent cogs4 ,at the top of the wheel sits a ,king1 enthroned and crowned1 with orb and sceptre4 ,clinging to the two sides and bottom are three figures of men1 whose anxiety to retain their hold1 as the wheel revolves1 is forcibly expressed4 ,the wheel is surrounded by a continuous band of black and white marble1 which1 looped octagonally at the angles1 incloses1 in the spaces so formed1 half lengths of the following four ,sages3 ,epictetus1 ,aristotle1 ,seneca and ,euripides4 ,each ,sage holds a scroll1 with a quotation from one of his own writings4 7,ill4 ,,vi47 ,illustration3 ,,lombardi ,,photo4 #acgb4 ,,author ,,unknown ,,vi4 ,,the ,,wheel ,,of ,,fortune 7,no4 #cg7 ,this design may be compared with another ,wheel of ,fortune1 inlaid by ,domenico del ,coro in the lower panel of a door in the ,chapel of the ,palazzo ,comunale4 ,padre ,micheli calls it the ,wheel of ,ambition1#ca although the wheel itself is inscribed 8,rota della ,fortuna40 ,he thus describes it3 8,to the lower part is a man clinging1 beside whom is written the inscription #8,so senza ,regno' 7,i am without a ,kingdom74 ,half way up the wheel1 to his right1 clings another figure of a man1 this time with the head of an ass1 and the inscription #8,regnero' 7,i will reign74 ,on the top of the wheel is seated an ass1 with the word #8,regno' 7,i reign72 and lastly1 on the other side1 going downwards1 is an ass with a man's head1 and the motto #8,regnai' 7,i have reigned740 ,the author of this inlaid panel1 who must in his former position of ,capo-maestro1 have known well the larger and older design1 probably wished to improve upon it2 but it is somewhat remarkable to find it placed among panels symbolising the ,articles of ,christian ,faith4 99 99 99 99 99 ,let us now turn to #d4 ,,the ,,south ,,aisle4 ,both this and the ,north ,aisle are adorned with representations of the ten ,sibyls1 five in each4 ,these ,sibyls were all placed here under the ,rectorship of ,alberto ,aringhieri in the years #adhb-hc4cb ,the introduction of these mythical personages into ecclesiastical art was not unusual at this period1 and they take their place beside the ,prophets1 as forerunners of ,christ4 ,they form a curious link between the ,pagan and ,christian world of thought4 ,according to ,greek ideas1 ,sibyls were women under the inspiration of the ,deity1 but they are not spoken of at all by either ,homer or ,herodotus3 and the first ,greek writer who mentions them is ,heraclitus 7circa #ejj ,b4,c474 ,aristophanes1 ,plato and other early writers only mention one3 ,heraclides ,ponticus1 a pupil of ,plato1 speaks of three 7the ,erythraean1 ,phrygian1 and ,hellespontine72 but ,pausanias gives four 7the ,libyan1 ,erythraean1 ,cuman1 and ,hebrew74 ,of these the oldest was said to have been the ,libyan3 though the best known to modern times are undoubtedly the ,delphic1 the ,cuman 7visited by neas71 and the ,tiburtine1 who is said to have foretold ,christ to the ,emperor ,augustus4 ,by ,christian writers they are spoken of first in the second century ,a4,d41 but do not appear in art until the eleventh4 ,in the handbook of ,mount ,athos we read of the 8,wise ,sibyl02 and side by side with ,david1 one of these prophetesses appears in the ,sequence of ,thomas of ,celano3 the ,dies ,irae 7circa #abec74cc ,they have no place in early mosaics1 but one of the most ancient representations of a ,sibyl is that of the ,tiburtine in the church of ,sta4 ,maria ,aracoeli in ,rome4 ,the first1 and perhaps the most poetic ,choir of them1 is on the pulpit of ,s4 ,andrea at ,pistoia1 sculptured by ,giovanni ,pisano in #acja2 but from that time1 until the fifteenth century1 we find no other groups of them4 ,then appeared a great many representations1 and their number increases rapidly to as many as thirteen1 the last of whom is the ,queen of ,sheba1 who is called ,nichaula1 and is fabled to have foretold to ,king ,solomon the ,advent of a ,messiah4 ,the usual numbers1 however1 are three1 four1 six and ten2 and in such groups they have been designed by the greatest artists4 ,giotto1#cd ,perugino1#ce ,pinturicchio1#cf ,raphael1#cg and ,michael ,angelo1#ch are but a few of these4 ,not only throughout ,italy1 but to the ,northern ,art ,schools of ,germany and ,flanders1 the same cult spread2 and we find them introduced into sculpture1 painting and engraving4 ,sibyls assist1 as interested and sympathizing spectators1 in every scene of ,holy ,writ4 ,they meet us even in painted windows and illustrated books of devotion4#ci ,it is therefore not remarkable to find them here2 and1 if one recognizes the attitude of mind1 with which they were regarded by the ,renaissance ,catholic1 they are even most appropriate4 ,the number chosen is in accordance with that fixed by ,varro1 and with the exception of the ,cumaean1 who seems to take the place of the ,cimmerian in his list1 the choice of prophetesses is the same4 ,for the purpose of study1 let us begin at the ,western door2 and commence with ,the ,delphic ,sibyl4 ,delphi1 famous in ancient times for its ,oracles1 would not unnaturally suggest itself to these early students of ,greek art and literature as one of the places whence prophecies of the ,redemption of the ,world should come4 ,hence ,plutarch calls her the first of the ,sibyls4 ,according to ,pausanias1 the ,erythraean ,sibyl1 although a native of ,marpessus1 or ,erythrae1 in the ,troad1 lived mostly at ,samos1 and visited ,clarus1 ,delos1 and ,delphi1 at all of which places were shrines dedicated to the ,pythian ,apollo1 whose special gift this form of prophetic utterance was said to be4 ,later tradition would seem to have divided her attributes into at least three1 and given them separate existence4 ,here she is shown as a stately woman1 bearing in her left hand a decorated horn from which issue flames4 ,her right hand rests on a tablet supported by a winged sphinx1 which bears the words3 ,,ipsvm ,,tvvm ,,co ,,gnosce ,,devm ,,qvi ,,dei ,,filivs ,,est 7,know thy ,god ,himself1 ,who is the ,son of ,god47 ,beneath her feet a label records her name1 and the fact that she is mentioned by ,chrysippus in his ,book of ,divination4 ,we find#dj that this figure was executed in #adhb by ,giuliano di ,biagio and ,vito di ,marco1 who probably also made the design for the work1 as the payment they received was #egi lire #aj soldi4 ,we may compare this amount with the sum paid in #ahff-fi for the restoration of the same ,sibyl4 ,it was #b1cda lire #ag c4 ,the ,cumaean ,sibyl4 ,it is not clear why this ,sibyl is so named1 especially as it provokes confusion with the more celebrated 8,sibilla ,cumana40 ,apparently the ,cimmerian ,sibyl is intended4 ,ferdinand ,piper tells us that she was sometimes styled the ,italian ,sibyl1#da and mentions other variations of the name3 8,cymea1 ,chymerea or ,chimica40 ,according to the label1 supported behind her by two charming putti1 she is said to have been mentioned by ,piso in his ,annals4 ,here she is represented as an excited-looking woman1 with loose hair scattered over her shoulders4 ,she bears in her hand a tablet1 with the following words inscribed upon it3 ,,et ,,mortis ,,fatvm ,,fini ,,et1 ,,trivm ,,diervm ,,so ,,mno ,,suscepto ,,tunc ,,amortvis ,,regressvs ,,inlucem ,,veniet ,,prim ,,vm ,,resurrectionis ,,initivm ,,ostendens4 7,he shall accomplish the fate of death1 having undergone a sleep of three days4 ,then being returned from the dead1 he shall come into the light1 showing the first beginning of the resurrection74 ,this design is said to be the work of ,luigi di ,ruggiero1 called l',armellino1 and ,vito di ,marco2#db but1 except a notice dated #adhbdc of payments to the first-named worker for marble cut by him for work on 8li spazi di ,duomo e per le ,sibille10 we have no further record as to the author of this particular design1 or its cost4 ,we find1 however1 that in the restoration above referred to1 it cost #b1eha lire #hj c4 ,the ,cuman ,sibyl4 ,this ,sibyl is famed in poetic story as having been visited by neas3 an interview described with much graphic minuteness by ,virgil1 in ,book ,,vi4 of the neid4 ,endless legends have accumulated in connection with her1 and her presence is associated with many spots in and around ,naples4 ,ferdinand ,piper states that the names of ,amalthea1 ,demophile1 and ,herophile have been given to her by different writers1#dd and that ,justin ,martyr asserts that she was daughter of ,berosus1 and came from ,babylon to ,campania4 ,she is said to have lived for a thousand years2 and to have been the ancient prophetess1 who offered the ,sibylline ,books to ,tarquin4 ,these books1 the oldest collection of which was1 according to tradition1 made about the time of ,solon and ,cyrus1 by the ,sibyl of ,marpessus 7the ,erythraean ,sibyl71 at ,gergis1 on ,mount ,ida1 found their way thence to ,erythrae2 from there to ,cumae2 and so to ,rome4 ,in #hc ,b4,c4 they were burned2 but fragments of their contents continued to exist orally until ,a4,d4 #ab1 when they were collected and revised by the ,emperor ,augustus1 and were surviving in #cfc4 ,in the year #djj they were again destroyed by ,stilicho2 and the present so-called ,sibylline books are a spurious invention of ,jewish and ,christian writers4 ,here she appears as a somewhat severe old woman1 with a veil wound round her head4 ,in her right hand she carries the mistletoe bough of the ,virgilian story2 and with her left she clasps to her three books4 ,piled on the ground to her right1 and burning1 are six more1 representing those destroyed by her in the ,tarquinian legend2 and above her left shoulder two flying cherubs bear a tablet1 with the following inscription3 ,,vltima ,,cvmaei ,,venit ,,iam ,,carminis ,,aetas ,,magnus ,,abintegro ,,saeclorvm ,,nascitvr ,,ordo ,,iam ,,re ,,dit ,,et ,,virgo1 ,,redevnt ,,satvrnia ,,regna1 ,,iam ,,nova ,,progenies ,,caelo ,,demittitvr ,,alto 7,now has come the last period of ,cumaean song1 ,a great order of the ages is born afresh4 ,the ,virgin now returns2 the kingdoms of ,saturn return4 ,now a new progeny is sent down from lofty ,heaven47 ,her label bears the words 8,sibilla ,cumana meminit ,virgilius4 ,eclog4 ,,iv40 ,this figure is the work of ,giovanni di ,maestro ,stefano di ,giovanni and his scholars1 and was executed by him in #adhb4de ,he received for it the sum of #fig lire1 #i soldi and #b c4 ,it was restored at the same time as the other ,sibyls1 in #ahff-fi1 at a cost of #b1gdc lire #f c4 ,the ,erythraean ,sibyl4 ,this ,sibyl1 as we have already seen1 is one of those named in the earliest lists by ,pausanias4 ,she is said to have been a native of ,marpessus or ,erythrae in the ,troad1 and he1 as well as some other writers1 gives her the name of ,herophile2 one authority however speaks of a ,trojan ,sibyl1 whom he calls ,herophila1 and names the ,erythraean one1 ,symmachia4 ,she lived1 as we have said before when writing of the ,delphic ,sibyl1 chiefly at ,samos1 but visited ,clarus1 ,delos and ,delphi4 ,this would1 no doubt1 account for the difficulty in distinguishing the various place-names attached to these different women4 ,as we have also seen above1 the ,sibylline books are said to have been once preserved at ,erythrae1 and ,lactantius attributes to her the famous acrostic which announces the ,coming of the ,anointed ,one1 ,son of ,god ,himself1 as ,saviour of the ,world4 ,here she is depicted as a tall patrician lady1 with a rather forbidding countenance1 and a very curious head-dress1 which partially envelops her face4 ,her right hand clasps a closed volume1 while the left rests on an open book1 supported by a carved lectern4 ,on the pages of this book are written the following words3 ,,de ,,excelso ,,et ,,nascetvr ,,caelorvm ,,ha ,,in ,,diebvs ,,no ,,bitacvlo ,,pro ,,vissimis ,,de ,,vir ,,spexit ,,domi ,,gine ,,hebraea ,,nvs ,,hvmiles ,,in ,,cvnabvlis ,,svos ,,terrae 7,from the ,high ,habitation of ,heaven ,god has looked down on ,his humble 7servants71 and shall be born in these most recent days of a ,hebrew ,virgin in the cradle of the earth47 ,beside her on a stool is a tablet1 telling us that this is the ,erythraean ,sibyl1 whom ,apollodorus claimed as his fellow citizen4 ,this ,sibyl was designed and executed by ,antonio ,federighi in #adhb2 and we are told that he received #fdi lire #ag soldi for it4#df ,it is interesting to note that this and the ,samian are the only ,sibyls signed by their designers4 ,federighi's evident taste for faithful representation of the costumes of his period1 apparent also in his other works1 would account for the rather bizarre head-dress above referred to4 ,the cost of restoration of this ,sibyl was #b1jdc lire #ac c4 ,the ,persian ,sibyl4 ,ferdinand ,piper1 quoting a scholiast on ,plato1#dg identifies this ,sibyl with the one elsewhere variously called ,chaldaean1 ,babylonian1 ,egyptian and ,hebrew4 ,he tells us further1 that tradition called her also the daughter of ,berosus1 and daughter-in-law of ,noah1 which raises confusion with the ,cuman4#dh ,he adds1 also1 that sometimes the name of ,sabbe is given to her1 and sometimes that of ,sambetha4 ,nothing more is known of this ,sibyl2 but it is worth noting that the prophecy here attributed to her is the only one that does not deal with the ,birth or ,atonement of ,christ4 ,she is represented as a pleasant-looking woman of middle age1 with her head bound up in a simple veil4 ,in her left hand she carries a book1 and with her right she draws attention to a tablet1 resting on a carved pedestal1 with an inscription as follows3 ,,panibvs ,,solvm ,,qvinqve ,,et ,,piscibvs ,,dvobvs ,,ho ,,minvm ,,millia ,,in ,,foeno ,,qvinqve ,,satiabit ,,reli ,,qvias ,,tollens ,,xii ,,cophinos ,,implebit ,,in ,,spem ,,mvltorvm4 7,with five loaves and two fishes ,he will satisfy the hunger of five thousand men on the grass4 ,taking up the remains1 he will fill twelve baskets1 for the hope of many47 ,beneath her feet1 a label informs us that it is ,nicanor who bears record of her4 ,urbano di ,pietro da ,cortona1 ,antonio ,federighi1 ,vito da ,marco and ,luigi ,ruggiero 7l',armellino7 received commissions to execute these ,sibyls on ,september #bjth1 #adha2di but ,urbano does not appear to have received his payment of #fje lire #ab soldi for the execution of this one1 until ,october1 #adhc4ej ,the sum paid to restore his work was #c1aec lire #hd c4 #e4 ,,the ,,north ,,aisle4 ,the ,albunean ,sibyl4 ,this prophetess1 as we gather from the label placed beneath her feet1 was also styled the ,tiburtine ,sibyl1 because she was 8honoured as ,divine at ,tibur40 ,from a ,christian point of view she is perhaps the best known of all the ,sibyls1 and the representations of her in art1 still extant1 are many and very varied in conception4#ea ,the ,emperor ,augustus is said to have visited her1 and1 as a result of her prophecy1 erected the altar inscribed 8,,ara ,,primogeniti ,,dei10 now inclosed in the ,cappella ,santa 7or di ,s4 ,elena7 of the ,church of ,sta4 ,maria ,aracoeli in ,rome4 ,she is here represented as a tall and youngish woman1 with a curious pointed head-dress4 ,in her right hand she carries an open book2 while above her left shoulder1 and attached by a ribbon to the neck of a small cherub1 is a tablet on which are the words3 ,,nascetvr ,,christvs ,,in ,,bethlehem ,,annvn ,,ciabitvr ,,in ,,nazareth ,,regnante ,,tavro ,,paci ,,fico ,,fundatore ,,qvie ,,tis4 ,o ,,felix ,,mater ,,cv ,,ivsvbera ,,illvm ,,lacta ,,bvnt 7,christ shall be born in ,bethlehem4 ,he shall be announced in ,nazareth1 the peaceful ,taurus 7the ,bull7 being in the ascendant1 the founder of peace4 ,oh ,happy ,mother whose breast shall give him milk47 ,this ,sibyl was designed by ,benvenuto di ,giovanni del ,guasta in #adhc1eb and is a fine specimen of his work2 but it is not known definitely who executed this1 or indeed any of the four remaining ,sibyls4 ,we read1 however1 that ,giuliano di ,biagio was in this year paid #da lire #ae soldi for the carriage of #i1caj lbs4 of marble for this work1#ec so presumably he and his assistants executed some if not all of them4 #b1adi lire #ce c4 were paid for the restoration of this ,sibyl in #ahff-fi4 ,the ,samian ,sibyl4 ,of this ,sibyl we know nothing1 and can only point out1 as in the case of the ,delphic and ,erythraean ,sibyls1 that the latter of those prophetesses1 though born in the ,troad1 made her principal abode at ,samos3 and that thus these three may have been one and the same person4 ,we are told1 by the label beneath her representation1 that she is spoken of by ,eratosthenes1 a writer quoted by ,lactantius1 and whose work was one of the first books printed in ,italy in #adfe4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,matteo ,,di ,,giovanni ,,bartoli ,,vii4 ,,the ,,samian ,,sibyl 7,no4 #bi7 ,this figure is one of the most beautiful of all the ten ,sibyls1 and well it may be1 seeing that it was designed by that delightful draughtsman and earnest artist1 ,matteo di ,giovanni ,bartoli4 ,a slender princess1 with flowing draperies1 she supports with her left hand a handsomely-bound open volume4 ,a curious and characteristic feature of ,matteo's work is evident in the charming cherub-head1 with outspread wings1 that clasps a girdle round her robe below the hips4 ,beside her on a tablet1 upborne by two lion-headed figures1 is the following inscription3 ,,tv ,,enim ,,stvlta ,,ivdaea ,,devm ,,tvvm ,,non ,,co ,,gnovisti ,,lvcentem ,,mortalivm ,,menti- ,,bvs ,,sed ,,et ,,spinis ,,co ,,ronasti ,,horridvm ,,qve ,,fel ,,miscvisti 7,for thou1 foolish ,judaea6 hast not known thy ,god1 shining in the minds of men4 ,but thou hast both crowned ,him with thorns1 and hast mixed for ,him nauseous gall47 ,at the foot of the tablet is the designer's signature1 with the date #adhc4 7,ill4 ,,vii47 ,matteo di ,giovanni received for this design #d lire only1#ed on ,may #bcrd1 #adhc2 but it cost #b1fed lire #eb c4 to restore4 ,the ,phrygian ,sibyl4 ,of this ,sibyl also nothing is known1 though she too has been confounded with the ,delphic ,sibyl4 ,most of the longer lists1 however1 include both4 ,from the label designating her we learn that she prophesied at ,ancyra4 ,she is here brought before us attired in what we may suppose the artist intended to represent ,phrygian or semi-,oriental dress4 ,she holds aloft in her left hand a small book open at the words3 ,,solvs ,,deus ,,devs ,,svm ,,et ,,alivs ,,non ,,est 7,i am the only ,god1 and there is no other ,god47 ,her right hand directs attention to a tablet1 on a lyre-shaped support1 between which are seen half-length figures and heads of nude suppliants1 apparently rising from the grave4 ,the inscription on the tablet runs as follows3 ,,tvba ,,de ,,caelo ,,vocem ,,lv ,,ctvosam ,,em ,,itet ,,tartare ,,vm ,,chaos ,,ostendet ,,dehis ,,cens ,,terra ,,veniet ,,ad ,,tribv ,,nal ,,dei ,,reges ,,omnes ,,devs ,,ipse ,,ivdicans ,,pios ,,simvl ,,et ,,impios ,,tvnc ,,demvm ,,im ,,pios ,,in ,,ignem ,,et ,,tenebras ,,mittet ,,qvi ,,avtem ,,pieta ,,tem ,,tenet ,,iterv ,,vivent 7,the trumpet shall utter from ,heaven a mournful sound4 ,yawning earth shall show ,tartarean ,chaos4 ,all ,kings shall come before the ,tribunal of ,god4 ,god ,himself judging the ,evil and the ,good together4 ,then at length ,he will send the wicked into fire and darkness4 ,but whosoever will keep righteousness shall live again47 ,luigi di ,ruggiero 7l',armellino7 and ,vito di ,marco are generally reputed to have devised and executed this design1 but no record exists on the subject4 ,the cost of restoration was #b1dcc lire #ia c4 ,the ,hellespontine ,sibyl4 ,the inscription beneath the feet of this ,sibyl says that she was born on ,trojan soil1 and was1 according to ,heraclides1 a contemporary of ,cyrus4 ,hence1 no doubt1 she also has been confused with the ,erythraean ,sibyl4 ,it is very probable indeed1 as we have before hinted1 that time1 tradition1 and the varying expressions of different writers have divided the personality of that one ,sibyl into several1 according to the various places that she is reported to have visited4#ee ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,neroccio ,,di ,,landi ,,viii4 ,,the ,,hellespontine ,,sibyl 7,no4 #ca7 ,the figure is a graceful one1 but suggests somewhat gigantic proportions4 ,her hair flows over her shoulders1 though partially confined by ribbons1 and crowned with a jewelled diadem4 ,in her left hand she holds a half-open book4 ,her robe is loosely confined by a small girdle set with gems4 ,on her left1 a tablet is borne by two columns1 seated in front of which are a ,wolf and a ,lion 7the ,marzocco71 with their hands amicably clasped3 an allusion perhaps to the then recent treaty between ,siena and ,florence4#ef ,the inscription on the tablet runs thus3 ,,in ,,cibvm ,,fel ,,in ,,sitim ,,ace ,,tvm ,,dedervnt ,,hanc ,,in ,,hospitalitatis ,,mostr ,,abvnt ,,mensam2 ,,templi ,,vero ,,scindetvr ,,velvm ,,et ,,medio ,,die ,,nox ,,erit ,,tenebrosa ,,tribvs ,,horis4 7,for food gall1 in his thirst they gave him vinegar1 they will show this table of inhospitality4 ,the veil of the ,temple shall indeed be rent1 and at mid-day there shall be black night for three hours47 ,this fine design was the work of ,neroccio di ,bartolommeo di ,benedetto ,landi in #adhc1eg and is a noble specimen of his style4 ,we do not know what he received for the work1 but it is probable that it was the same sum as that given to ,matteo di ,giovanni4 ,nor1 as we have seen1 do we know who executed this and the adjacent designs4#eh 7,ill4 ,,viii47 ,the ,libyan ,sibyl4 ,according to ,pausanias1 the ,libyan was the oldest of all the ,sibyls1 and was the daughter of ,zeus and ,lamia4 ,more than this nothing is known of her1 but her label tells us that she is spoken of by ,euripides4 ,she is a striking figure1 her black marble face1 neck1 hands and feet1 producing a remarkable effect4 ,she is veiled and crowned with a garland of flowers4 ,in her left hand she grasps a small open scroll1 while in her right she shows an open book with the words3 ,,dabit ,,cola ,,in ,,ver ,,phos ,,bera ,,accipi ,,inno ,,ens ,,ta ,,cens ,,cebit ,,dorsv ,m 7,receiving buffets he will be silent1 to blows he will give his innocent back47 ,on her left is a tablet1 borne by intertwined serpents1 the words written upon it being3 ,,in ,,manvs ,,iniqvas ,,veniet4 ,,dabvnt ,,deo ,,alapas ,,manibvs ,,in ,,cestis4 ,,miserabilis4 ,,et ,,ignominiosvs4 ,,miserabilibvs ,,spem ,,praebebit4 7,he shall come into unjust hands4 ,with impure hands they shall give stripes to ,god4 ,he miserable and in ignominy will give hope to the miserable47 ,guidoccio ,cozzarelli was the author of this design in #adhc1ei but here again there exists no record of the sum paid for it4 ,we may suppose though that these designs were all paid for at about the same rate4#fj ,the expense of its restoration was #b1ceb lire #af c4 ,with the examination of the ,libyan ,sibyl1 we find ourselves again at the ,western end of the ,church1 and must betake ourselves back to-- #f4 ,,the ,,north ,,transept4 ,this ,transept is covered with three large designs1 all executed during the ,rectorship of ,alberto ,aringhieri2 two of which1 at least1 may have some political significance4 ,the first we come to is-- ,the ,expulsion of ,herod 7,no4 #bg74 ,this vast composition1 designed by ,benvenuto ,giovanni del ,guasta in #adhd-he1 and for which he received #gh lire1#fa is full of charming grouping and delightful suggestion4 ,it not impossibly alludes to the expulsion1 which had then but recently taken place1 of ,pandolfo ,petrucci and his followers4 ,it must be remembered that1 though ,siena at this period was not involved in important external historical events1 her internal history was one long record of party faction and strife1 in which ,aringhieri himself played a not unimportant part4 7,ill4 ,,ix47 ,benvenuto was a consummate draughtsman1 and he was ably supported here by ,bastiano di ,francesco1 who designed the delightful border of winged lions that frames the picture 7,ill4 ,,xi471 and made sixty letters of marble for the same work4#fb ,illustration3 ,,lombardi ,,photo4 ,,designed ,,by ,,benvenuto ,,di ,,giovanni ,,del ,,guasta ,,ix4 ,,the ,,expulsion ,,of ,,herod 7,no4 #bg7 7,the entire panel7 ,we find several notices as to sums paid to workmen for executing this frieze1 but only one speaks also of work on the design itself4 ,from this1 however1 we learn that it was executed by ,bernardino ,antonio and ,cristofano di ,pietro ,paolo del ,quarantotto4#fc ,the other workmen employed on the frieze were ,vito di ,marco1#fd and ,bartolommeo di ,domenico4#fe ,with the exception of ,vito di ,marco1 we have no record of these men1 apart from notices of their work done on this ,pavement4 ,perhaps they were scholars or apprentices of the better-known masters1 and therefore not recorded more particularly4 ,we also read that certain millers1 by name ,giusto ,giovanni and ,michele di ,ludovicho1 were paid #ae lire #ad c4 for the porterage of #g1hgj lbs4 of black marble used in this design1 and that 8del onperadore40#ff 7,ill4 ,x47 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,benvenuto ,,di ,,giovanni ,,del ,,guasta ,x4 ,,the ,,expulsion ,,of ,,herod ,the composition is most graceful and full of force4 ,it illustrates an episode in the struggle between ,herod ,antipas and his brother-in-law ,aretas1 as a result of which the former had to evacuate his kingdom4 ,the picture has been well restored1 a re-engraving of the marble slabs on the old lines having been1 to a large extent1 sufficient for the main work1 though the frieze has had to be entirely renewed4 ,a group of soldiers1 among whom is one extremely striking man's figure in full armour1 has been particularly successful4 ,over this group1 in a high tree1 an eagle maybe seen protecting her nest of young ones from the attacks of a serpent1 possibly alluding to the same political events referred to above4 ,the charming cherubs1 supporting a tablet in the upper part of the composition1 upon which is engraved a long quotation from ,josephus1 describing the scene depicted1 have been renewed1 and the damaged originals transported to the ,museum of the ,opera4#fg ,with them is also the original tablet1 which curiously enough on removal was found to be a memorial slab of an earlier date1 bearing on the reverse side a fine effigy of a cleric4#fh ,the last restoration of this design took place between the years #ahfi-ahgh and1 together with the ,pavement around it1 cost #b1aef lire #fc c42 while that of the friezes1 around this and the next design1 cost another #c1dij lire #ab c4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,bastiano ,,di ,,francesco ,,xi4 ,,detail ,,of ,,the ,,frieze ,,of ,,lions ,beyond this fine scene we come to another1 still more remarkable1 if not quite so pleasing4 ,the ,massacre of the ,innocents 7,no4 #bf74 ,this1 perhaps1 is the most striking of all the scenes on the ,pavement1 and as interesting historically as artistically4 ,the artist who designed it1 ,matteo di ,giovanni ,bartoli1 has thrown into it all the force of his fancy and skill4 ,it is extraordinarily full of life1 and vivid with imagination4 ,the same artist executed certainly three1 if not four1 more designs of the same subject1 two of them being pictures still existing in ,siena itself2#fi and it is extremely interesting to compare his treatment of it in all these three4 ,authorities differ as to the dates of these two paintings1 but admittedly there was an interval of ten years between them4 ,that in ,s4 ,agostino1 and most probably also the very similar painting by the same artist at ,naples1 come in point of date almost immediately subsequent to this design for the ,pavement1 and resemble it very closely4 ,at this period all ,italy was convulsed with horror at the awful ,sack and ,destruction of ,otranto1 which had occurred on the #aath of ,august1 #adhj4gj ,we read that #a1bjj persons were massacred1 and that most of the children were sold as slaves4 ,the shock to the ,christian world was so terrible that the ,pope1 ,sixtus ,,iv41 in an ,encyclical addressed to all the cities of ,italy1 called their attention to the disaster1 pointed out to them that none of them1 however remote1 was safe1 and implored them1 setting aside their party divisions1 to combine in the cause of mutual protection against the ,moslem4 ,alfonso1 ,duke of ,calabria1 son of ,ferdinand1 ,king of ,naples1 then living as ruler in ,siena1 was hastily recalled to take command of an expedition against the common enemy3 and it is1 ,i submit1 not straining a theory too far1 to suppose1 that ,matteo di ,giovanni may have been directed to design these scenes on the ,pavement of the ,duomo1 for the ,church of ,s4 ,agostino1 and for the ,church of ,sta4 ,caterina a ,formello at ,naples1 as an object lesson to recall to the public mind1 through the medium of a ,scriptural ,tragedy1 the horrors to be endured at the hands of the unspeakable ,turk4 ,they are all executed with a force and a suggestiveness1 so vivid as to be painful in their intensity4 ,the successful results of these three probably inspired the fourth1#ga which is somewhat less ferocious1 and certainly more graceful and pleasing4 ,illustration3 ,,lombardi ,,photo4 ,,designed ,,by ,,matteo ,,di ,,giovanni ,,bartoli ,,xii4 ,,the ,,massacre ,,of ,,the ,,innocents 7,no4 #bf7 7,the entire panel7 ,unable to use on the ,pavement the brilliant pigments so lavishly employed in the paintings1 the artist has introduced1 wherever possible1 marbles of many and varied colours2 and when upon these multi-coloured materials are super-imposed most elaborate designs1 the whole produces the effect of a gorgeous piece of bizarre jewellery4 ,herod sits on a splendid ,renaissance throne of carved marble1 in a colonnade1 adorned with panels#gb of classical scenes4 ,a sportive frieze of marble ,bacchanals is introduced along the top of the composition1 broken by circular windows1 from which groups of impish children look down complacently and even laughingly1 on the dreadful slaughter below4 ,the armour of ,herod and his soldiers is of the most magnificent kind1 and we may notice again the artist's affection for finishing a clasp with the head of an animal or a human being4#gc 7,ill4 ,,xii47 ,it is evident from the style of this work that it is by ,matteo di ,giovanni ,bartoli1 and his authorship has never been questioned1 though there is no record of any commission or payment to him4 ,the date of its execution 7#adha7 is fixed by ,tizio1#gd and by two records of payments for materials used upon it4#ge ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,matteo ,,di ,,giovanni ,,bartoli ,,xiii4 ,,the ,,massacre ,,of ,,the ,,innocents ,we have no record as to who executed the very charming frieze of putti and dragons1 which borders the bottom and the left side of this picture2 nor that of greyhounds and fountains1 which incloses the other sides1 and it is not easy to suggest any reason why two such different designs should have been employed for the same picture4 ,they are evidently designed by different hands1 and were probably executed like the other friezes by the ,cathedral workmen mentioned above4 7,ill4 ,,xiii47 ,the whole work has been apparently restored several times2 for we find in the notes of ,abate ,faluschi1#gf that it was restored in #agij by ,matteo ,pini1 after the designs of ,carlo ,amidei1 and at this very day some of the worn-out stones are being renewed1 and the line of drawing re-trepanned and stuccoed4 ,the third picture in this transept is3 ,the ,relief of ,bethulia by ,judith4 7,judith1 cap4 xiii41 xiv41 and xv47 7,no4 #be47 ,whether this picture had any political or semi-political reference we do not know4 ,the small fortress-towns in the ,sienese contado were at this time continually being relieved and changing hands1 but we cannot now identify this scene with any particular event4 ,it is interesting1 though1 to note that it was planned during the ,rectorship of ,savino di ,matteo di ,guido ,savino1 who was1 on ,january #bfth1 #adhj1 deposed from his post for being one of the 8,riformatori40#gg ,illustration3 ,,lombardi ,,photo4 ,,designed ,,by ,,urbano ,,da ,,cortona 787 ,,or ,,matteo ,,di ,,giovanni ,,bartoli 787 ,,executed ,,by ,,antonio ,,federighi ,,xiv4 ,,the ,,relief ,,of ,,bethulia 7,no4 #be7 7,the entire panel7 ,the notices as to this work are few and vague3 but we know from ,tizio#gh that it was laid down in #adgc1 and further that the frieze of 8reels0 7naspatoio71 surrounding it1 was executed by ,urbano di ,pietro da ,cortona1 ,giovanni di ,stefano di ,giovanni1 ,bartolomeo di ,domenico ,calabrone and ,francesco di ,bartolomeo 7perhaps his son74#gi ,it is generally supposed that the design itself was the work either of ,urbano da ,cortona or of ,matteo di ,giovanni ,bartoli1 and the execution is attributed to ,antonio ,federighi4#hj 7,ill4 ,,xiv47 ,however this may be1 it is a work full of charm1 recalling examples of the most poetic period of ,florentine art4 ,as usual in work of this period1 several episodes of the story are told in various parts of the picture4 ,on the extreme right1 now much injured1 and partly obliterated by the ,pisani's pulpit1 we can still trace ,holofernes' tent1 and the gruesome tragedy therein enacted4 ,above the middle of the picture1 over the hillside1 upon which bloom myriad flowers amid purling brooks1 comes ,judith1 a figure of extreme grace1 followed by her maid1 who bears on her head a basket1 containing the tyrant's head4#ha 7,ill4 ,,xv47 ,to the left is the towered city of ,bethulia1 from which issue troops of horsemen1 intent upon victory in the fight1 which is depicted in the centre of the composition4 ,beside the gate of the city1 one may notice a group of a knight with his squire arranging the harness of his horse4 7,ill4 ,,xvi47 ,we may also remark the introduction here of birds4 ,in the extreme left corner are two parent birds1 sitting in a bush1 guarding their young ones in a nest1 whilst above ,holofernes' tent are perched two waiting ravens4 ,illustration3 ,,alinari ,,photo4 ,,xv4 ,,detail ,,from ,,the ,,relief ,,of ,,bethulia ,this work was also restored1 or1 as ,abate ,faluschi puts it with much truth1 8modernized0 7modernata7 by ,carlo ,amidei and ,matteo ,pini in #agij1 so that we cannot now know how much of the original work has perished4 ,it is not unlikely that1 in any case1 it may have been a composite design from the hand of more than one artist4 ,it is1 however1 worth noting that1 whereas the design last described depends largely for its effect on varied colour1 this one1 the ,expulsion of ,herod1 and the other contemporary picture of the ,story of ,jephthah1 presently to be described1 show how much can be done by the use of line alone4 ,illustration3 ,,alinari ,,photo4 ,,xvi4 ,,detail ,,from ,,the ,,relief ,,of ,,bethulia ,ascending a wide step1 we come to a work of much older and more archaic character1 which ,i propose to include in my seventh division4 #g4 ,,the ,,choir ,,ambulatory4 ,the ,story of ,joshua's ,victory over the ,amorites 7,no4 #bb71 and the ,slaughter of the ,five ,kings4 ,this work1 with the others beside it on the same platform right across the church1 was executed about the year #adbd1 during the ,rectorship of ,bartolommeo ,cecchi4 ,i have already1 in my introduction1 referred to the difficulty in separating the work done here by ,domenico di ,niccolo del ,coro1 from that of ,paolo di ,martino4 ,both men appear from the documents to have held the post of ,capo-maestro of the ,duomo4 ,tizio mentions distinctly#hb this design as among those executed in #adbd1 and ,milanesi in his ,documenti#hc repeating that date1 assures us that it was among works to be attributed to ,domenico himself3 thereby pointedly confuting ,vasari's assertion1 that it and those adjoining it were from designs by ,duccio4 ,on the same page1 however1 of the ,documenti1#hd we find a notice1 dated #adbf1 of payment to a paper dealer1 named ,domenico di ,francesco1 for ten squares of 8fogli reagli0 used by 8,paolo nostro10 for a design for the 8storia di ,giesue30 and ,milanesi himself in his ,discorso sulla ,storia ,artistica ,senese#he contradicts his former statement1 attributes this design and that of ,samson 7,no4 #ad7 in the opposite aisle of the ,choir1 also hitherto given by him to ,domenico1 to ,paolo1 and dates them both two years later than in his previous assertion4 ,it is an interesting picture1 though at present sadly in need of judicious restoration4 ,the greater part of it is occupied by the battle scene1 but up in the top left-hand corner we see the bodies of the ,five ,kings hung up to five stakes1 and below them a yawning cavern4 ,some of the figures are expressed with considerable force1 and the fifteenth-century armour of the soldiers is most quaint and curious4 ,the work here1 and that of the story of ,samson above referred to1 do resemble each other1 and have not much in common with the known work of ,domenico del ,coro4 ,i think we may1 therefore1 fairly consider them as from ,paolo's designs2 and supposing that these artists worked in collaboration on the whole scheme of this platform1 that1 when ,tizio spoke of these designs1 he described a project not completely carried out until two years later4 ,on either side of the main picture are single figures ,joshua and ,solomon 7,nos4 #bc and #bd74 ,the first of these ,milanesi1 in his ,discorso1#hf gives unhesitatingly to ,paolo di ,martino1 with the same date as the before-mentioned larger design4 ,but of the figure of ,solomon1 now more than half concealed under the marble balustrade of the altar of ,s4 ,ansano1 a mention exists in a document in the ,archivio dell' ,opera1 dated #ajth of ,august1 #addg4hg ,this was during the ,rectorship of ,giovanni di ,pietro ,ghezzi 7,borghesi71 who held the post from #adcg to #addh1hh and we find a notice dated ,june1 #addd1hi which may refer to this very work1 although it is not mentioned specifically4 ,it is a permission to the ,rector to fill up this portion of the ,pavement with such a design1 as may seem to him suitable and pleasing4#ij ,the whole platform1 or step1 upon which all these designs are inlaid had been bordered1 along the top and bottom1 by a delightful frieze of putti1 executed in #adbc1 by ,agostino di ,niccolo of ,siena1#ia and ,bastiano di ,corso of ,florence4#ib ,of the former artist we know but little1 but of the work of the latter1 in company with his son ,corso1 on the pavement before the ,cathedral doors1 we find several notices1 to which ,i have referred already1#ic ,a notice1 dated #beth ,march1 #addg1id speaks of other frieze-work done by father and son1 8sotto la tribuna di verso l'altare di ,santa ,chaterina40 ,this work appears to have perished1 or been superseded1 unless1 as is by no means impossible or improbable1 we may attribute to him the frieze round the ,massacre of the ,innocents described above1 the authors of which are unknown and unidentified4 ,agostino and ,bastiano's frieze is a very graceful one1 but it would seem1 judging from the dates of the documents1 as if the latter artist had succeeded the former in the work3 for the first document speaks of payment made to ,agostino up to ,december #cjth1 #adbc1 whereas both those commissioning ,bastiano are dated the same month1 with no allusion to previous or contemporary employment of any other artist4 ,three more steps bring us to the passage which runs round behind the altar4 ,here originally was some of the oldest work1 but to all appearance now it would seem to be almost the most modern4 ,in five circles we find the five ,cardinal ,virtues1 the first of whom is ,fortitude 7,no4 #ba74 ,on this spot1 as ,i have already said in my first chapter1 ,marchesse d',adamo#ie and his companions1 the ,comacene sculptors at work in ,siena in #adjf1 are generally supposed to have executed the earliest figure-subject on the ,pavement1 about which we now possess authoritative information4 ,there is nothing1 however1 to show their work4 ,the figure is imposing and dignified in composition1 but the workmanship on it is poor and somewhat paltry4 ,of the four other ,virtues1 ,justice1 ,christian ,piety1 ,prudence1 and ,temperance 7,nos4 #bj1 #ai1 #ah1 and #ag71 there is little definite to be said4 ,padre ,micheli#if following ,milanesi#ig gives #adjf as the possible date of the two first1 #achj as that of the other two2 but there is nothing in their present condition to prove either one date or the other4 ,the only thing that may be noticed is that the restoration of ,justice and ,prudence shows more vigour of conception and boldness of line1 with far more satisfactory results than have been shown in the case of ,fortitude and ,temperance4 ,fortitude1 we know1 was restored in #ahci1 and ,temperance perhaps at the same time4 ,christian ,piety is half covered by the great lectern1 and so obliterated by the feet of readers and singers as to be now almost indistinguishable4 ,the frieze of ladders 7scaglioni7 and thorns 7spini71 surrounding these works1 is said to have been executed in #adjf4ih ,descending again three steps corresponding to those on the opposite side of the church we come to the design of ,samson slaying the ,philistines with the jawbone of an ass 7,no4 #ad74 alluded to above4 ,the workmanship and style of this picture certainly resembles that of ,joshua and the ,five ,kings on the north side1 but it is a finer and a grander piece of work4 ,the grouping is bolder and more forcible4 ,samson1 a giant figure1 is administering chastisement to a ,philistine in the manner of a schoolmaster to a naughty boy4 ,he holds aloft1 not merely the jawbone of an ass1 but the whole skull4 ,some of his opponents lie slaughtered on the ground1 and a crowd of them cowers away in terror1 to the right of the composition4 7,ill4 ,,xx47 ,this design1 as we have said before1 is mentioned by ,tizio#ii among those projected in #adbd1 and was probably executed by ,paolo di ,martino in #adbf4 ,on either side of it are the single figures of ,moses 7,no4 #af7 and ,judas ,maccabeus 7,no4 #ae74 ,milanesi in his ,discorso#ajj attributes the figure of ,moses1 like that of ,joshua 7,no4 #bc71 to ,paolo di ,martino in #adbf1 while that of ,judas ,maccabeus1 now hidden almost entirely by the balustrade of the altar of the ,blessed ,sacrament1 and also recorded by ,tizio 7in the notice already more than once referred to71 ,padre ,micheli#aja supposes1 and there is no evidence to contradict him1 to have been the work of ,domenico del ,coro in #adbd4 ,before descending the step to the ,south ,transept1 ,i would wish to draw the reader's attention to the fact1 that this step does not run parallel with the steps above it1 and that the platform is narrower at this end than at the other4 ,consequently1 the design of ,samson and those in the transept1 now to be described1 are all more or less irregular in shape4 ,whether this is due to some structural defect in the original building1 or to some inequality in the foundation1 it is impossible now to say4 #h4 ,,the ,,south ,,transept4 ,this transept is complicated in its general plan by the irregularity above referred to4 ,it contains two pictures to correspond to the one 7the ,story of ,judith7 on the opposite side of the church1 and is further broken up by varied designs1 of different sizes1 before what was once the ,porta del ,perdono1 and is now the ,cappella del ,voto4 ,the first picture1 that we come to1 is very remarkable1 especially since it is the only one which is neither biblical1 symbolical1 nor heraldic4 ,it professes to be a portrait of the ,emperor ,sigismund 7,no4 #ac71 who in #adcc was a visitor for some months to the city4 7,ill4 ,,xxi47 ,confusion has arisen among ,sienese writers as to the identity of this portrait1 and some have said that it represents the ,emperor ,charles ,,iv4 ,this probably arose from the fact1 which is difficult now to explain1 that ,tizio1#ajb under date #adbd1 after describing1 as we have seen1 the above-mentioned designs1 goes on to say that 8in the time immediately following1 to the right1 by the iron grating1 a ,portrait of the ,emperor was laid down on the pavement2 and not much later the ,story of ,absalom hanging by his hair to the oak1 under the direction of the same ,operaio40 ,with the ,story of ,absalom ,i will deal presently1 but ,tizio must have made a very grave mistake here in dates2 since we have two notices#ajc proving that ,domenico di ,bartolo di ,ghezzo d',asciano was the designer of this work in #adcd1 for which he received #af lire2 whilst another notice1#ajd dated ,december #bnd in the same year1 records the payment of #c lire #aj soldi to a workman named ,giacomo d',antonio for assistance in executing it4 ,as regards the ,operaio at this period some difficulty arises1 since ,padre ,micheli asserts that ,bartolommeo ,cecchi only held the post up to #adcj4 ,from the ,borghesi and the ,faluschi ,,ms4 lists1#aje however1 we find that ,cecchi 7,bartolommeo di ,gio4 di ,cecco7 was still in office on ,october #beth1 #adcd1 but was apparently compelled to resign on account of his having married a certain ,corsa1 and had children by her4#ajf ,we read further that he was succeeded1 #adcd-e1 by ,giacomo della ,quercia1 who held the post until his death on ,february #hth1 #adch4ajg ,from the second of the notices above referred to we gather1 therefore1 that the work was certainly ordered by ,bartolomeo ,cecchi1 even if1 as is possible1 it was completed under the direction of his successor4 ,illustration3 ,,lombardi ,,photo4 ,,by ,,pietro ,,del ,,minella 787 ,,xvii4 ,,the ,,story ,,of ,,absalom 7,no4 #ab7 ,the ,emperor1 crowned and sceptre in hand1 sits on a splendid throne1 under a marble canopy1 hung with garlands4 ,four counsellors sit beside him1 two on each hand2 and two tall pages carry his orb and sword4 ,it is worth noting1 that this design appears to have early required restoration1 because we read in a notice quoted above1#ajh under date #adhe1 of black marble being brought from ,chasciano1 among other things1 8raconciare la storia del onperadore40 ,at the latest restoration 7#ahfi-gh7 a sum of #faf lire #di c4 was expended on it4 ,beside this design1 as ,i have remarked above1 is the very striking picture of ,absalom hanging by his hair 7,no #ab74 7,ill4 ,,xvii474 ,no design on the ,pavement attracts so much attention as this4 ,the bold1 vigorous outlines of the white figures set against the black marble background1 the vivid and forcible composition of the picture1 and the remarkably decorative foliage of the two trees1 almost ,japanese in character1 from one of which ,absalom is hanging1 arrest the eye and the attention of even the most casual visitor4 ,we find a notice in the ,archivio dell' ,opera1#aji stating that it was commenced after the #aath of ,july1 #addg1 during the ,rectorship of ,giovanni ,borghesi1 and while ,pietro di ,tommaso ,minella was ,capo-maestro4 ,the design of it is generally attributed to ,minella himself1 and from the high merit of its conception and composition this is very probable1 but there are no records to prove more than that he superintended its execution4 ,tizio#aaj includes it in the list of works to which he gives the date #adbd1 but this1 as ,i have already pointed out1 is an obvious mistake4 ,below these two designs we come to another fine large picture1 similar to those in the ,north ,transept4 ,it represents ,the ,story of ,jephthah's ,victory1 and the ,sacrifice of his ,daughter 7,no4 #aa74 ,the greater part of the composition is taken up with the ,fight and ,victory2 and the expression of violent action on the part of the combatants is wonderfully forcible4 ,to the left ,jephthah1 on his charger1 a crown on his head1 and clothed like a ,roman emperor1 gives orders to his men4 ,near him we notice a charming group of two young men conversing1 one of whom1 a negro1 stands out from the picture with startling vividness4 7,ill4 ,,xxiii474 ,above1 in the background1 ,jephthah's daughter is seen coming out of the city gates1 with a joyous crowd of maiden companions1 to greet her victorious father2 while1 still farther into the top left-hand corner1 we may see the unhappy father1 in a tiny temple1 sacrificing his daughter1 in fulfilment of his rash vow4 ,of this work we find two notices in the ,archives1#aaa the first1 dealing with advances made on two occasions to the artist1 and the other1 recording payment for the complete work4 ,the artist employed upon it was ,bastiano di ,francesco di ,sano1 of whom we have already spoken1 and he appears in this case to have been both designer and executant4 ,the work seems to have been commenced either late in #adha or at the beginning of #adhb1 but not finished until the end of #adhd or early in #adhe4 ,not that the artist was idle1 for1 as we have seen1 he had work to do elsewhere on the ,pavement in the interval1 besides various sculptures commissioned by the cathedral authorities4#aab ,he received for it in all a sum of #b1eee lire4 ,its restoration in #ahfi-gh cost #b1ffd lire #h c4 7,ill4 ,,xxiii47 ,below this design1 the plan of the floor is very much broken up4 ,the reader must1 however1 bear in mind that up to the year #affa1 when ,pope ,alexander ,,vii4 7,fabio ,chigi7 began to build the ,cappella della ,madonna del ,voto1 to contain the famous wonder-working picture of the ,madonna1 ,protectress of ,siena1 this portion of the ,pavement lay before the ,porta del ,perdono1 to which ,i have made frequent reference at the commencement of this chapter4 ,this ,porta del ,perdono must have been a sort of ,porta ,sacra1 opened only in solemn state in the years of ,jubilee4#aac ,fragments of it still exist1 and may be seen built into the outer wall of the bay1 next to the above-mentioned ,chapel2 and the inscription1 quoted in the note1 is now to be found over the left hand doorway of the ,western faade4 ,there are many notices still to be found dealing with this important entrance4 ,several1 to which we have referred already1 dealt with the adornment of the wide step or platform1 that apparently led to it from the outside4 ,all this has now perished4 ,inside1 however1 the floor has fared better1 and the beautiful painting by ,maestro ,gregorio 7#adbc71 which hung above an altar#aad once erected over this door1 and belonging to the ,tolomei family1 still exists in the ,museum of the ,opera del ,duomo4 ,it was1 no doubt1 the fact that long periods of time passed between each successive opening of this door1 which gave ,antonio di ,federigo1 or ,federighi1 the idea of placing before it his beautiful design of the ,seven ,ages in the ,life of ,man4 ,infancy1 ,childhood1 ,adolescence1 ,youth1 ,manhood1 ,age1 and ,decrepitude 7,no4 #f74 ,all seven are treated with a navet and grace impossible to surpass4 7,ill4 ,,xviii47 ,not only the figures themselves1 but also their accessories2 the budding blossoms1 the over-blown flowers1 and the handsome classical tomb to which 8,decrepitas0 is tottering1 show a taste and feeling beyond description4 ,federighi1 we read1 designed and executed this delightful work in #adge1aae and1 at about the same date1 the friezes of stags1 and perhaps the beautiful lily 7,ill4 ,,xxiv471 candlestick 7,ill4 ,,xxii47 and geometrical pattern1 in the angle formed by the ,seven ,ages with the ,cupola designs1 were also laid down2 but we cannot be sure whether they are by the same master or not4 ,all that we do know for certain about them is drawn from two notices1#aaf recording payments to a certain ,bartolino of ,massa da ,carrara for marble for work in the ,duomo1 among which the 8frieze of stags0 7fregio del cervio71 and a frieze at the ,porta del ,perdono are especially mentioned4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,antonio ,,federighi ,,xviii4 ,,the ,,seven ,,ages ,,of ,,man 7,no4 #f7 ,the work visible here now is wholly a restoration2 but ,federighi's ,seven ,ages may be seen nearly complete in the ,museum of the ,opera1 together with part of the frieze of stags4 ,fragments of the other friezes and borders are also to be found1 laid down outside the north aisle of the ,cathedral1 in the little courtyard between it and the present ,palace of the ,archbishop4 ,federighi's work1 when removed 7#ahfi-ahgh71 was replaced by the fine copy1 which we now see1 executed by ,leopoldo ,maccari and ,giuseppe ,radicchi4 ,the cost of restoration1 at this date1 of the entire angle amounted to #bb1bed lire #bf c4 ,there is no record of any early work ever having existed between this design and the destroyed ,porta1 which probably stood nearly on the same spot as the doorway of the present ,cappella del ,voto4 ,perhaps the erection of this newer archway created a wider space4 ,however this may have been1 designs for the four ,theological ,virtues1 ,religion1 ,faith1 ,hope1 and ,charity were made by ,carlo ,amidei1 and executed here by ,matteo ,pini#aag in #aghj4 ,these designs were not admired1 and1 moreover1 did not stand the wear of time as the older work had done4 ,they were1 therefore1 removed in #ahgj1 and replaced by entirely new designs1 made by ,professor ,alessandro ,franchi1 and executed1 under his direction1 by ,leopoldo ,maccari4 ,before commencing the description of the last two sections of the ,pavement1 ,i must remind my reader once more1 that1 after a great part of it had been laid down1 an important radical change took place in the interior arrangements of the ,duomo4 ,up to the commencement of the sixteenth century the great ,high ,altar1 glorified by ,duccio's grand ,maest1 stood in the centre of the ,cathedral1 under the ,cupola4 ,this part1 therefore1 of the floor was not decorated4 ,but1 on the other hand1 that above the steps1 where the ,choir and ,altar now are1 was so adorned4 ,by the advice of ,baldassare ,peruzzi1 ,capo-maestro in #aecb1 the whole arrangement was changed4 ,in accordance with his plans1 and under his direction1 ,choir and ,altar were moved further east1 and placed in the position that they now occupy4 ,of the original floor decorations1 then1 all that now remain in situ are the designs in the ,choir ,ambulatory above-mentioned1 and ,domenico del ,coro's work1 to be described shortly4 ,fragments of the older work1 removed to make way for the alterations1 still exist2 and1 until #ahgh1 were used to fill up three of the hexagons under the ,cupola4 ,at that date1 as we shall presently see1 they were finally removed to the ,museum of the ,opera1 and replaced by modern work of an entirely different character4 99 99 99 99 99 ,let us now proceed eastwards and examine #i4 ,,the ,,choir ,,and ,,altar-,,steps4 ,before the lowest step of the ,high ,altar1 we find one large design1 and on either side of it seven small ones2 the whole being inclosed by a long processional frieze4 ,the principal design represents ,abraham's ,sacrifice 7,no4 #ef74 ,the whole story is told in different parts of the picture1 culminating in the central group of the ,sacrifice itself4 ,the smaller designs represent the following subjects4 99 99 99 99 99 ,on the right of the ,altar3 #a4 ,elisha raising the son of the ,shunammite4 #b4 ,a prophet with an open book before him4 #c4 ,eve on her knees4 #d4 ,a woman1 holding in her hand an open book4 #e4 ,another woman1 with a mirror1 representing ,prudence4 #f4 ,the ,sacrifice of ,melchisedec4 #g4 ,a seated woman1 with a child4 ,on the left3 #a4 ,the old ,tobit1 with his son1 ,tobias1 and the ,angel ,raphael4 ,at their feet a dog4 #b4 ,a woman1 representing ,charity4 #c4 ,adam kneeling4 #d4 ,a prophet1 gazing up to ,heaven4 #e4 ,another woman1 seated1 holding a book in her hand4 #f4 ,the ,sacrifice of ,abel4 #g4 ,another woman1 seated1 with a child4 ,a great procession runs all round these1 composed of men and women of all ages1 shown in half-length1 representing ,the ,children of ,israel seeking the ,promised ,land4 ,all these designs were the work of ,domenico di ,jacopo di ,pace ,beccafumi1 called ,il ,mecharino1 and we read in ,alfonso ,landi's ,descrizione del ,pavimento and in the notes of ,abate ,faluschi#aah that they were executed between the years #aedd and #aedf4 ,the writers refer to 7as their authority7 the ,libro ,giallo dell' ,assunta of the ,cathedral ,archives1 and state that the artist received #h1jjd lire #ai c4 for his work4 ,the subjects chosen fitly complete the general scheme of the floor1 surrounding1 as they do1 the ,altar1 with symbolical imagery from the ,old ,testament4 ,the repentant ,adam and ,eve1 the three ,typical ,sacrifices1 ,prophets1 ,virtues1 the ,guardian ,angel1 and around the whole a host of believers hastening to the ,promised ,land4 ,some of the drawing is very beautiful and extremely decorative1 notably the frieze4 ,the beautiful figure of ,eve1 indeed1 has been even attributed to ,giovanni ,antonio ,bazzi 7,il ,sodoma71 who is known to have received a commission to make at least one design for this floor4#aai ,this1 however1 is wholly uncertain1 and cannot now be verified4 ,the workmen employed here1 and the sums they received respectively1 we learn from the above sources and from ,milanesi4#abj ,they were ,bernardino di ,giacomo1 who received for his labour #dge scudi1 and ,pellegrino di ,pietro1 #aea sc41 #a4 #d4 ,these men were probably masons in the regular employ of the ,cathedral1 for ,bernardino1 at least1 seems to have been employed on all the work done at this time4 ,descending three steps we come to ,domenico del ,coro's design of ,david1 to which we have had occasion to refer already more than once4 ,david as ,king and ,psalmist1 and ,david and ,goliath4 ,in a circular panel1 ,david1 as ,king1 sits on a throne with a sort of zither on his knee1 while1 with his right hand1 he points to an open book of ,psalms1 propped upon a lectern by his side4 ,around him stand four courtiers holding each a primitive musical instrument3--a small organ1 a tambourine1 a mandoline1 and a viol4 ,the whole picture is surrounded by a graceful cornice of leaves4 ,on either side of the central picture1 in a lozenge-shaped space1 is a single figure2 on the one side is the youth ,david slinging his stone1 and upon the other the giant ,goliath falling backwards4 ,it is curious that ,goliath has a hole in his forehead1 although the stone has not reached him2 while1 at the same time1 the stone is both still in ,david's sling and in the air above ,goliath4 ,the figures in the central composition are fine1 but much altered by restoration4 ,those of ,david and ,goliath are more original1 and have probably suffered less4 ,these designs are undoubtedly the work of ,domenico del ,coro1 executed during the ,rectorship of ,bartolommeo ,cecchi3 and the cornice and frieze work around them is that of ,agostino da ,niccolo1 for we read special notice of this fact in a memorandum of payment to the latter1 dated ,june #fth1 #adbc4aba ,below another step we come to the largest and most pretentious of ,beccafumi's designs4 ,moses' ,ascent of ,mount ,sinai1 his ,receipt of the ,tables of the ,law1 and the ,idolatry of the ,children of ,israel 7,no4 #eb74 7,ill4 ,,xxv47 ,the story is told in six parts1 combined into one large picture4 ,above1 in the centre1 ,moses kneels on the mountain top 774 ,the light of ,heaven streams over him1 and he receives the ,tables of the ,law into his outstretched hands4 ,below in the centre he lifts the ,tables over his head1 to dash them to pieces on the ground 774 ,in the upper left-hand corner1 the ,elders of ,israel are seen persuading ,aaron1 who points to ,moses on the mountain1 to make the ,golden ,calf 773 in the lower1 we see him casting their gold and jewels into the fire to make it 774 ,in the lower right-hand corner the ,israelites are worshipping the ,calf 771 while above they are smitten with plague and dying in agony 774 ,this work appears to have been originally commissioned by a certain ,antonio d',agostino del ,vescovo1 then ,rector 7#aebd72abb but1 as we read from an inscription let into the beautiful frieze that surrounds it1 it was completed under the direction of his successor1 ,francesco di ,carlo ,tolomei4 ,beccafumi received on the #cjth of ,august1 #aeca1 #abj scudi for these designs1#abc according to a valuation made for ,tolomei by ,baldassare ,peruzzi himself2#abd which suggests the idea that these two great artists may have together planned the new arrangements of the ,choir1 and a scheme of decoration to adorn it1 when complete4 ,from ,landi and ,faluschi we learn that the workmen here employed#abe were the same ,bernardino di ,giacomo1 who now received for his work #ifi scudi #ac3 ,giacomo di ,pietro ,gallo1 #acc sc4 #f4h2 ,bartolommeo di ,pietro ,gallo1 #da sc42 and ,giovanni d',antonio ,marinelli1 called il ,mugnaino1 #dhf sc4 ,to these ,milanesi adds two more1 not mentioned by either of the above authorities3 ,niccolo ,filippi and ,cristofano di ,carbone4#abf ,immediately below these scenes a long narrow design1 also by ,beccafumi1 shows ,moses striking the ,rock to bring water for the thirsting ,israelites 7,no4 #ea74 ,this is by far the most pleasing and successful of ,beccafumi's works4 ,we can see1 from its very simplicity1 how much its charm depends upon sheer skill of drawing4 ,this work was executed in #aebe1abg but we do not find any record as to the amount paid to him for it1 or the workmen employed upon it4 ,probably they were the same as had carried out his previous designs4#abh ,these scenes by ,beccafumi provoked the most extravagant admiration and applause from the writers of the seventeenth1 eighteenth and early nineteenth centuries2 and as tours de force1 and specimens of a new kind of work1 they are certainly remarkable4 ,they do not1 however1 succeed in provoking that feeling of pleasure and charm1 that one experiences when studying the older and simpler productions4 ,and now we come to the last section1 and some of the latest work4 #aj4 ,,under ,,the ,,cupola4 ,this vast hexagonal space is divided into seven hexagons and six lozenges4 ,they all now contain scenes from the ,story of ,elijah1 completing what probably was ,beccafumi's original design4 ,that that artist did prepare designs for four of the hexagons1 for two of the lozenges and for a frieze1 we have abundant evidence1 for we have no less than five notices1#abi between the #aath of ,march1 #aeah-ai1 and the #ahth of ,june1 #aebd1 in the books of the ,opera1 of payment to him1 not only for his labour1 but also for the paper used for his cartoons4 ,it is also to be noted that the commission for this work was given him earlier than that of any of the other works above described4 ,upon these grounds1 ,professor ,luigi ,mussini1 writing on the ,pavement1#acj supposes that they were executed in #aeag1 and likens them to ,pinturicchio's work of eleven years before4 ,a recent writer in the ,miscellanea ,storica ,senese1#aca however1 contests this statement1 and quotes a document in the ,archives dated #aefb1acb which states that a certain person1 called there ,giovan ,battista nostro1 designed four scenes from the ,story of ,elijah for the ,duomo floor1 which1 we gather from the same sources1 were executed by the ,cathedral masons1 ,niccolo di ,girolamo ,gori1 ,domenico di ,pier ,giovanni1 and the same ,bernardino di ,jacomo4 ,this ,giovan ,battista was ,giovanni ,battista di ,girolamo ,sozzini1 brother of ,alessandro ,sozzini1 ,diarist of the last ,siege of ,siena4 ,he was a pupil of ,beccafumi's1 and of his work1 ,scipio ,bargagli in his ,imprese speaks in high praise1 specially mentioning some mandorle designed by him1 8placed near the grand works of the great ,mecarino40#acc ,to add to these facts1 we know that ,sozzini retained in his possession many drawings by ,beccafumi1 and among them his cartoons for the floor4 ,these designs he sold to the architect ,tiburzio ,spannocchi1 and it is recorded in the ,archives of the ,duomo1#acd that the ,cathedral authorities endeavoured1 but apparently unsuccessfully1 to recover them4 ,some of these have now1 as we know1 found their way into the ,public ,picture ,gallery4 ,these six designs differ in treatment from ,beccafumi's other work1 and the drawing and composition of them is not so striking4 ,the large hexagons represent3 #a4 ,the ,compact between ,elijah and ,ahab 7in the centre74 7,ill4 ,,xix47 ,no4 #db4ace #b4 ,ahab's ,sacrifice 7to the left74 ,no4 #dd4 #c4 ,elijah's ,sacrifice 7above74 ,no4 #da4 #d4 ,the ,slaughter of the ,prophets of ,baal 7to the right74 ,no4 #dc4 ,the small ones3 #e4 ,ahab comes to meet ,elijah4 ,no4 #df4 #f4 ,elijah sends ,obadiah to fetch ,ahab4 ,no4 #de4 ,it does not seem to me1 however1 that the learned writer of the above-referred-to article brings forward any real ground for doubting ,beccafumi's authorship of these designs4 ,the ,document quoted1 and ,scipio ,bargagli1 both speak of 8mandorle10 which appears to have been the technical expression for the lozenges filling up the great hexagon1 in contradistinction to the words 8tondo0 or 8esagono10 used to describe the larger sections4 ,the documents dated #fth of ,september1 #aeba1 and #ahth of ,june1 #aebd1 together expressly mention four tondi and two mandorle1 which exactly accounts for the designs in question4 ,it seems unnecessary1 therefore1 to strain the word mandorle to mean something else than its more obvious meaning3 and it is surely much more probable1 that the document and quotation1 both refer to designs for the remaining four mandorle1 which are generally supposed to have been filled in by ,carlo ,amidei1 and ,matteo ,pini in #aghj4acf ,however this may be1 the smallness of the sum paid for the designs1 #ge soldi1 makes the idea1 that it was a payment for drawings of any size1 even more improbable and absurd4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,domenico ,,beccafumi ,,xix4 ,,elijah',s ,,compact ,,with ,,ahab 7,no4 #db7 ,the three remaining hexagons1 up to #ahgh1 contained fragments1 and most interesting fragments1 of older work1 which evidently once formed part of the floor1 where the ,high ,altar now stands4 ,to the left1 looking east1 was a delightful design representing the ,blind leading the ,blind4 ,an old man is holding one end of a stick1 while a young man1 also blind1 is grasping it at the other end4 ,the older man is just stepping over a precipice into space4 ,below them is a delightful putto1 holding in one hand a mirror1 and a label with the word 8,notate0 upon it4 ,this design we know to have been the work of ,antonio ,federighi in #adei2 and for it he received #df lire4#acg ,it was apparently ordered by the ,rector1 ,benedetto di ,biagio di ,roberto1 and completed during the ,directorate of ,cristofano ,felice4#ach ,the middle design illustrates the ,parable of the ,mote and the ,beam2 and though it dates from #acgd-e1aci strangely enough is now in the best preservation of the three4 ,the third design was a scene of a stately-looking bearded man1 giving alms to a woman with a child in her arms4 ,this is generally supposed to be that work of ,domenico del ,coro#adj which is referred to in a document dated #adcc1 as being placed by him in the choir 7then under the cupola7 from the lectern downwards1 in that place where they stand to sing1#ada and for which he received #ceg lire4 ,it is impossible now to tell what was the original shape of these designs1 or where they were placed4 ,but to fit them into the hexagons1 they were made into more or less complete triangles1 the remainder of the space being filled up with fragments of old friezes1 brought probably from the same place4 ,in #ahge1 the fragments left of them1 and of the four later mandorle1 were removed to the ,museum of the ,opera1 where they now are1 and in #ahgh1 all seven were replaced by others1 completing the ,story of ,elijah and ,ahab4 ,the subjects chosen are1 for the larger ones3 #a4 ,ahab mortally wounded4 ,no4 #dj4 #b4 ,elijah carried to ,heaven in a ,chariot of ,fire4 ,no4 #ch4 7,ill4 ,,xxvi47 #c4 ,elijah predicts the manner of ,ahab's death4 ,no4 #ci4 ,for the smaller ones3 #a4 ,elijah fed by ,ravens4 ,no4 #dg4 #b4 ,elijah raises the widow's son4 ,no4 #ej4 #c4 ,elijah asks bread of the widow4 ,no4 #di4 #d4 ,elijah anoints ,jehu1 ,king of ,israel4 ,no4 #dh4 ,these designs were made by ,professor ,alessandro ,franchi1 the present ,director of the ,accademia delle ,belle ,arti1 and were executed under his direction by ,leopoldo ,maccari and ,antonio ,radicchi4#adb ,the smaller ones follow to some extent the older lines1 but in the larger ones1 the artist has struck out for himself2 and1 if the result is in somewhat startling contrast to everything preceding it1 there is no doubt that his work is full of skill and merit of a most scholarly and remarkable kind4 ,under his care1 and with the able support of the above-mentioned two artists1 aided by a generous legacy of a former ,rector1 ,cav4 ,pietro ,bambagini ,galletti1 the whole ,pavement has undergone the ,restoration1 to which ,i have referred so often1#adc and is now in as perfect a condition as constant loving and intelligent care can keep it1 without entirely hoarding it from view4 ,,chapter ,,iii ,,the ,,pavement ,,masters ,the reader1 having patiently followed me along the intricacies of the ,pavement1 and the ramifications of its history1 will now like to know something more detailed about the men who made it4 ,to satisfy this wish1 ,i have collected from various sources1 chiefly from ,milanesi1 the following notes4 ,padre ,micheli#add gives no less than forty-one names of workers of various sorts on the ,pavement4 ,to these the writer in ,miscellanea#ade adds three more2 and if with them we include the six artists and sculptors1 who1 since the middle of the eighteenth century1 and up to the present day1 have restored1 replaced1 and made additions1 we arrive at a total of more than fifty men1 who have1 in one way or another1 contributed to this beautiful work4#adf ,of these1 many remain but as names recorded in documents concerning the ,pavement1 and are heard of nowhere else2 of others we catch a few glimpses in the pages of ,milanesi2 about a dozen were celebrated in their day as painters and sculptors1 in the somewhat limited world of ,sienese ,art1 and have left specimens of their work elsewhere2 while two alone1 ,pinturicchio and ,beccafumi1 have attained world-wide fame4 ,i propose then to take the names of these men1 according to the dates of the first work contributed by them to the ,pavement4 ,thus we begin with3 #a4 #acfi4 ,antonio di ,brunaccio4 ,this earliest name1 connected with work on the ,pavement1 is of a man1 about whom we do not know very much4 ,in #acfb1 we find him witnessing two contracts made between the ,operaio and a certain ,francesco di ,tonghio1 for woodwork 7stalls and a lectern7 made for the ,choir of the ,duomo4 ,he is among the sculptors1 whose names are entered in the ,book of ,arts and ,crafts of the ,city of ,siena1 under date #acfc1 and in the following year1 he binds himself to do certain work in the ,cathedral1 and the ,cappella di ,piazza4 ,in #acfi1 we read of his making a small lion1 to adorn a fountain in the ,palazzo ,pubblico4 ,he was1 perhaps1 the son of a certain ,brunaccio di ,santa ,colomba1 a sculptor1 who signed the ,sculptors' ,brief in the thirteenth century1 quoted in the ,nuovi ,documenti4#adg #b4 #acgj4 ,sano di ,marco4 ,this man's name is also among those of the sculptors working in ,siena in #acfc4 ,milanesi mentions a daughter of his called ,valentina1 who married a sculptor named ,paolo di ,pietro1 of the parish 7,popolo7 of ,san ,stefano3 but there is no other record about him4 #c4 #acgj4 ,francesco di ,ser ,antonio4 ,appears to have been a painter1 and we find his name on the list of artists flourishing in ,siena in #adjb4adh ,he was also consulted in #acgf as to the walls of the ,cappella di ,piazza2 and was witness to a contract made with ,giacomo di ,buonfredi1 called ,corbello1 for certain work done on the faade of the ,duomo4 ,he must not1 however1 be confused with ,francesco d',antonio di ,francesco1 the goldsmith1 who lived many years later4 #d4 #acgf4 ,matteo di ,bartolo4 #e4 #achj4 ,nanni di ,corsino4 ,of these men1 and their work1 nothing is known1 but the notices already quoted4 #f4 #acih4 ,sano1 or ,ansano di ,maestro ,matteo4 ,of this sculptor and architect1 notices exist from #acib to #adbi4 ,he was a native of ,siena1 and might have been the son of the ,matteo di ,bartolo mentioned above1 although we cannot prove it4 ,he married twice3 first1 ,cristofora di ,cecco di ,domenico2 and secondly1 after her death1 a certain ,madonna ,bartolommea4 ,in #adjb1 we find him witness to a contract1 given to ,giacomo di ,giovanni1 8a key-maker0 7chiavaio7 to make an iron railing round the pulpit in the ,duomo in ,siena4 ,in #adjd1 he held the post of ,petrone1 or valuer1 to the ,commune1 and ,director of the ,city water-supply1 and was re-appointed in #adjg4 ,in #adjh and in #adji1 we also find him recommending ,cristoforo di ,francesco1 a ,sienese sculptor1 first to the ,orvieto ,cathedral authorities1 and then to the ,signoria of ,siena4 ,he was1 in #adaf1 elected ,castellan of the fortalice of ,montalcino1 but1 being engaged to assist ,giacomo della ,quercia in his work on the ,fonte ,gaia1 sent ,maestro ,giovanni di ,giacomo1 as his lieutenant4#adi ,he was ,capo-maestro of the ,duomo at ,orvieto for various periods during the years #adjg-adbe1 and during that time he made the font there4#aej ,he also added a new chapel to the ,cathedral4 ,in #adaf1 he too was among the artists employed on the ,font in the ,baptistery at ,siena1 and in #adbf-bg1 he was called to ,perugia to superintend the drainage works of ,lake ,thrasymene4 ,among the ,sienese ,state ,records of #adbg-bh are three letters from the ,signoria to him1 apologizing for not sending him an apprentice1 but recalling him home3 together with letters addressed1 one to the ,pope's ,legate1 ,bishop ,pietro ,donato1 and the other to ,antonio ,casini1 ,cardinal of ,san ,marcello1 asking leave for him to return3 the object being1 that he should build the ,loggia di ,s4 ,paolo1 7now the ,casino dei ,nobili74 ,among the documents extracted by ,signori ,borghesi and ,banchi1 we find several referring to work done by ,sano at ,perugia3 among other things1 the construction of a mill at ,ragulano4 ,we also learn that1 for the months of ,may and ,june1 #adad1 he was ,gonfaloniere of the ,compagnia di ,rialto e ,cartagne4 ,he had two daughters3 ,caterina1 born on ,july #cjth1 #adje2 and ,mattia1 who married ,gherardo di ,niccolo4#aea #g4 #acih4 ,luca di ,cecco4 ,a sculptor1 whose signature is also found attached to the document mentioned above4 ,in #acge1 and again in #acgg1 his name occurs as witness to contracts for works of art3 the first1 a picture for the ,high ,altar of the ,duomo1 to be made by ,lorenzo di ,vanni and ,nuccio di ,neruccio3 the second1 a marble statue by ,mariano d',agnolo and ,bartolommeo di ,tomm1 for the ,cappella del ,campo4 ,in #achf1 he was commissioned to make some marble steps for the interior of the ,duomo4 #h4 #adje4 ,cecco di ,giovanni4 ,another unrecorded artist4 #i4 #adjf4 ,marchesse d' ,adamo4 ,of this man1 or of his stonemason companions from ,como1 we hear nothing more than the short notice ,i have given already4 ,we know that ,comacene and ,lombard workmen1 especially masons and sculptors1 were labouring in great numbers all over ,italy at this period1 and that they have left their traces very markedly1 throughout all ,tuscan and ,umbrian ,art4 ,we know also1 that the stone workers of ,siena made a compact with those of ,lombardy1 residing and working in that town1 on the #eth of ,december1 #adgc1 whereby they gave to them certain privileges on payment of suitable fees4#aeb #aj4 #adbc-cc4 ,domenico di ,niccolo del ,coro4 ,this great artist was born about #acfc1 and belonged to the noble family of ,spinelli4 ,he was one of the cleverest and most prolific workers of his day4 ,his principal trade was that of a wood-carver2 and he is said to have obtained his surname of del ,coro from his ability and success in designing and carving ,choir-stalls4 ,from #adac to #adbc1 he held the post of ,capo-maestro of the ,opera del ,duomo of ,siena1 and we have records of work done by him in glass1 as well as in stone and wood4 ,he worked on the older ,fonte ,gaia1 made designs for an intended loggia 7on the site of the present ,casino dei ,nobili71 to face into the ,piazza del ,campo1#aec and was sent for to ,orvieto to advise about the repair of the roof of the ,duomo there4 ,the panels1 inlaid with the ,symbols of the ,creed1 for the stalls of the ,chapel of the ,palazzo ,pubblico1 executed by him between the years #adae-adbh1aed after designs said to be by ,taddeo ,bartoli1#aee are works of exceptional beauty4 ,after a long life1 in ,january #addf-g1 we find him1 at #hd years of age1 begging the ,signoria of ,siena to grant him a pension4 ,a sum of two florins a month was allowed to him1 but he could not have enjoyed it for long1 since after #adej we entirely lose sight of him4 #aa4 #adbc4 ,agostino di ,niccolo4 ,the only specimen of this artist's work we know of in ,siena1 is that on the ,pavement4 ,we have no other record of him except that in #adje1 or perhaps even earlier1 he was working at ,orvieto1 in company with a certain ,nanni di ,giacomo 7a cadet of the noble house of ,castori1 or ,amidei71 a native of ,lucca1 but resident in ,siena1 and during the next year1 with an artist named ,orbetano1 called il ,mastro1 also a ,sienese4 #ab4 #adbc4 ,bastiano di ,corso4 ,concerning this artist1 we know that he came from ,florence1 lived a long time in ,siena1 and died rather before #adee4 ,his family name was ,giuliani1 and he married ,francesca di ,cristoforo ,pastella1 by whom he had four sons3 ,taddeo2 ,cristoforo 7born #adbb72 ,corso 7of whom presently71 and ,giuliano1 who married1 in #adfi1 ,marianna1 daughter of ,pietro ,paoletti4 ,both of these were sculptors1 like their father4 ,milanesi gives many notices of work in marble done by this artist1 in company with his sons1 in the ,cathedral1 the ,baptistery1 the ,hospital of ,sta4 ,maria della ,scala1 and the ,loggia di ,s4 ,paolo4 #ac4 #adbf4 ,paolo di ,martino4 ,of this man1 beyond the records of him in connexion with the ,pavement1 scarcely anything is known4 ,he appears once1 as witness to a contract for some carved figures for the ,duomo4 ,a curious fact occurs also1 as to work done by him in the before-mentioned ,chapel of the ,palazzo ,pubblico4 ,in #adad1 he1 his brother ,antonio1 and a certain ,simone d',antonio1 were commissioned to decorate the stalls of that ,chapel4 ,their work seems not to have given public satisfaction1 with the result that the commission was taken away from them1 and given to ,domenico del ,coro1 who1 as we have seen1 executed his task triumphantly4 ,illustration3 ,,alinari ,,photo4 ,,designed ,,by ,,paolo ,,di ,,martino ,,xx4 ,,samson ,,and ,,the ,,philistines 7,no4 #ad7 #ad4 #adcd4 ,domenico di ,bartolo di ,ghezzo da ,asciano4 ,we find the name of this artist on the ,roll of ,sienese ,painters in #adbh4 ,vasari would have us believe1 that he was the nephew of ,taddeo ,bartoli4 ,this1 however1 is proved to be erroneous1 because we know that ,taddeo was the son of a barber1 one ,bartolo di ,maestro ,mino3 that his brother died childless2 and that his sister ,petra married a notary of ,radicondoli1 named ,ser ,antonio ,gennari4 ,domenico ,bartoli was a member of the well-known ,ghezzi family of ,asciano1 and a picture by him is still to be seen in the ,church of ,st4 ,agostino in his native town4 ,he was born about #adjj1 married in #addjaef ,donna ,antonia ,pannilini1 and died in #addf4aeg ,he was an artist of very great merit4 ,his finest works are his frescoes in the ,pellegrinaggio of the ,hospital of ,sta4 ,maria della ,scala at ,siena1 which were painted in #addc-dd4aeh ,these frescoes throw a vivid light on the manners1 customs1 costume1 and style of architecture of the period in which he lived1 and form a remarkable picture of ,sienese life at that date4 ,it is1 moreover1 most interesting to note how much the decorative effects1 employed by him in his work1 foreshadow the coming ,renaissance4 ,illustration3 ,,alinari ,,photo4 ,,by ,,domenico ,,di ,,bartolo ,d',,asciano ,,xxi4 ,,the ,,emperor ,,sigismund 7,no4 #ac7 #ae4 #adcd4 ,giacomo d',antonio4 ,appears to have been merely a workman 7manovale71 as1 except the record quoted1 no other notice appears of him among those hitherto extracted4 #af4 #addg4 ,pietro di ,tommaso del ,minella4 ,a native of ,siena1 this famous sculptor and architect was born on the #bast of ,december1 #acia4 ,he was son of a certain ,tommaso1 surnamed ,minella and had two brothers1 ,antonio and ,giovanni 7both workers in wood71 the latter of whom became a ,franciscan monk1 and ,rector of the ,hospital of ,sta4 ,croce4 ,pietro was a favourite pupil of ,giacomo della ,quercia1 who left him ten florins in his will2 and he worked with that great master on the famous ,font in the ,baptistery4 ,from #adca to #adcc1 he was ,capo-maestro of the ,opera del ,duomo at ,orvieto1 and with his brother ,antonio1 executed some works there in intarsia on the stalls4 ,in #adcg1 ,quercia gave him some commissions in connection with the ,loggia di ,s4 ,paolo1 and in #adci he was employed to make the choir for the ,chapel of the ,hospital of ,sta4 ,maria della ,scala4 ,out of this much litigation arose1 which was settled by the giving of a dowry to his daughter4#aei ,in #adda1 he and his brother ,antonio were commissioned to make a new ,bishops' ,throne for the ,cathedral at ,orvieto1#afj adorned with figures of ,,ss4 ,john and ,costanzo2 but apparently1 whether for want of funds or for what reason does not appear1 the work was never completed4#afa ,he remained at ,orvieto until ,march1 #addd1 when he returned to ,siena1 where he had been commissioned by the ,council to execute further work on the ,loggia di ,s4 ,paolo4#afb ,in ,august of that year he was in treaty to go back to ,orvieto1 and we find a document1 showing that he asked in payment for his services #abj ducats and a house1 but agreed to accept #aaj without the house1 arranging to come to ,orvieto about the middle of ,october to complete his bargain4#afc ,in ,september1 however1 he was promised by the ,camarlingo 7perhaps the ,treasurer7 of the ,opera del ,duomo at ,siena1 the post of ,capo-maestro there4 ,this appointment1 however1 he did not at first obtain1 though he was employed on the tomb of ,carlo ,bartoli1 ,bishop of ,siena1 for which he received1 as his share1 a sum of #ch lire #h soldi2#afd and in the following year on the ,chapel of ,s4 ,crescenzio in the ,duomo4#afe ,at last1 in #addg1 he was appointed ,capo-maestro1 and during his occupation of the post1 he designed the ,church of ,s4 ,ansano4 ,he died in ,august1 #adeh1 having married ,cristofora1 daughter of ,maestro ,pannucci1 surnamed ,cinquino1 and had by her three sons--,tone 7,canon of the ,duomo71 ,niccolo1 and ,sano1 who died in #adih1 having married ,polissena1 daughter of ,arnoldo di ,fortunato1 by whom he had six sons4 #ag4 #adej4 ,nastagio di ,guasparre4 #ah4 #adej4 ,bartolomeo di ,mariano1 called 8,il ,mandriano40 #ai4 #adea4 ,guasparre d',agostino4 ,of the first and second of these three men nothing is known but their names1 and the notice which records their work1 described in the last chapter4 ,as ,i have suggested1 ,nastagio di ,guasparre and ,guasparre d' ,agostino may have been father and son1 or master and pupil4 ,i have also referred to the fact that ,guasparre d',agostino painted frescoes of the ,crucifixion and ,burial of ,christ in the apse over the altar of the ,baptistery1#aff and was commissioned to paint some scenes from the life of ,s4 ,bernardino for the ,sacristy of the ,duomo4 ,we are told also by ,milanesi#afg that he was the master of ,francesco di ,giorgio and ,neroccio di ,bartolommeo ,landi4 #bj4 #adea4 ,corso di ,bastiano4 ,son of ,bastiano di ,corso1 he married ,nanna1 daughter of a certain ,simone di ,niccolo1 surnamed ,calabrese1 a maker of drinking vessels4 ,he was1 as we have seen1 a sculptor like his father1 with whom he worked4 ,we read1 besides1 however1 that he made the balcony of the ,palazzo ,pubblico1#afh whence the sentences on criminals were read1 and executed certain marble work at the ,oratorio di ,sta4 ,caterina in ,fontebranda4#afi #ba4 #adei4 ,antonio di ,federigo or ,federighi 7,federigi74 ,illustration3 ,,xxii4 ,,candlestick ,,by ,,antonio ,,federighi ,this sculptor and architect was one of the glories of ,siena in his time4 ,in one document1 to be referred to later1 he is called ,tolomei 7de ,ptholomeis71 but we have no record as to his birth or family4 ,in #addd1 he was among the artists employed on the tomb of ,bishop ,carlo ,bartoli1 and for his share in the work he received #ae lire4 ,in #adea1 he was appointed ,capo-maestro of the ,opera del ,duomo at ,orvieto1#agj where he remained until #adef1 living in considerable style4#aga ,he had with him all the time his two pupils1 ,polimante of ,assisi and ,vito di ,marco1 both of whom were paid by the ,duomo authorities4 ,he was evidently held in high honour1 for we find on ,april #gth1 #adeb1agb the ,signoria of ,siena writing to the heads of the ,commune at ,orvieto1 to ask them to recommend him to the notice of the ,duke of ,calabria4 ,in ,april1 #adec1 with safe conducts from the ,republic of ,florence and the ,king of ,naples1 he1 with seven companions1 went to ,carrara to quarry marble1 and in ,october of the same year he started for ,corneto for a similar purpose2 but was recalled on the #eth of the same month1 to advise as to the roof of one of the ,chapels in the ,duomo1 which threatened to collapse4 ,in ,september1 #adef1 he made1 and put into position1 one of the statues on the faade4 ,during this period he made statues of ,,ss4 ,ansano1 ,vittore1 and ,savino for the ,loggia di ,mercanzia or ,s4 ,paolo 7now the ,casino dei ,nobili71 and executed the work before the doors of the ,baptistery1 to which we have already alluded4 7,ill4 ,,xxii47 ,after #adef1 he appears to have returned to ,siena1 for we find a number of references to a commission for the statues of ,,ss4 ,peter and ,paul1 given first to ,urbano da ,cortona1 then to ,federighi1 and lastly to ,lorenzo di ,pietro 7,il ,vecchietta72 the special object of the last change being to keep that artist in ,siena4#agc ,from #adfj to #adfb1 he was engaged in the design and erection of the magnificent ,loggia di ,papa1 built by ,pope ,pius ,,ii42 and in #adfc1 on the palace of that ,pope's sister1 ,caterina ,piccolomini1 called then ,palazzo delle ,papesse1 but now styled ,palazzo ,nerucci4#agd ,in #adfi-gj1 we hear of work done by him at the ,oratorio di ,s4 ,caterina in ,fontebranda2 in #adgc party to the contract made between the ,sienese and ,lombard workers in stone3 and in #adhj1 he petitioned the authorities with reference to the drainage and water-supply of the town4#age ,other noticeable works by him are the marble bench on the right-hand side of the ,loggia di ,mercanzia1 before-mentioned2 the basins of the two holy water stoups at the west end of the ,cathedral ,nave 7attributed1 wrongly1 to ,quercia72 and the ,chapel and ,palace1 outside the ,porta ,camollia1 known as the ,palazzo dei ,diavoli4 #bb4 #adgc4 ,urbano di ,pietro di ,domenico da ,cortona4 ,this artist came with his brother ,bartolommeo1 in his early youth1 from his native city of ,cortona1 to settle in ,siena1 where in #adea1agf they together undertook to build the ,chapel of the ,madonna delle ,grazie1 in the ,duomo4 ,in the same year he was commissioned1 as we have seen1 to make two statues for the ,loggia di ,mercanzia1 but the commission was cancelled4 ,in #adef1 he made a statue of ,s4 ,bernardino for the ,convent of the ,osservanza1 and a figure of ,s4 ,peter for the faade of the ,duomo4 ,in #adeh1 the ,signoria of ,siena deliberated as to the suitability of employing him1 in company with ,donatello1 to procure alabaster from the ,val ,d',orcia1 to decorate a room in the ,palazzo ,pubblico4#agg ,among the records of the ,oratorio di ,sta4 ,caterina in ,fontebranda1 between the years #adfe and #adgd1 we find two notices of work by him3 namely1 a statue of the ,saint over the ,chapel door1 and a holy-water stoup4 ,in #adga1 he had a dispute with ,bastiano di ,francesco1 as to the price due for work done by the latter1 in which ,vecchietta was one of the two arbitrators4 ,in the same year he was employed on the ,palazzo delle ,papesse1 and in #adgc1 we find him also joining in the contract made by the ,sienese sculptors with their ,lombard fellow-craftsmen4 ,in #adig-ih1 he was one of the arbitrators in a dispute between ,giovanni di ,stefano and his workmen4#agh ,he died in ,siena1 on ,may the #hth1 #aejd1 leaving1 by his wife1 ,caterina ,scotti1 a daughter1 ,lucrezia1 who married ,ser ,pasquale ,griffi1 of ,montalcino2 his son ,tommaso having predeceased him4 ,his finest works still existing are the decorations for the ,chapel of the ,madonna delle ,grazie referred to above1 which are now affixed to the walls of the ,duomo1 near the door leading to the ,campanile stairs2 and the tomb of ,cav4 ,cristoforo ,felice 7,rector #adeg-eh and #adfj-fe7 in the church of ,s4 ,francesco in ,siena4 #bc4 #adgc4 ,matteo di ,giovanni di ,bartolo4 ,this artist1 also known as ,matteo da ,siena1 was born about #adce4 ,it was erroneously supposed1 that he was the son of ,giovanni di ,paolo di ,grazia1 the painter of ,poggio ,malavolti1 and brother of ,pietro and ,benvenuto di ,giovanni1 also painters of repute4 ,as a matter of fact1 however1 ,matteo's father was a certain ,giovanni di ,bartolo1 a merchant of ,borgo ,san ,sepolcro1 who had settled in ,siena1 by his second wife1 ,elisabetta1 daughter of ,andrea d',ambrogio1 a goldsmith3 while ,pietro was the son of another merchant1 one ,giovanni ,pucci2 and ,benvenuto1 of a certain ,giovanni di ,maestro ,meo del ,guasta of ,san ,quirico4 ,moreover1 ,giovanni di ,paolo of ,poggio was quite an old man when1 in #adhj1 he married a woman called ,domenica1 by whom he had no children1 as we find that by his will1 dated ,june #bith1 #adhb1 he left her his sole heiress4 ,matteo married twice2 first1 a certain ,contessa1 by whom he had no children2 and secondly1 ,orsina di ,francesco del ,taia1 by whom he had three sons and four daughters4 ,he died in ,june1 #adie4 ,he was a distinguished painter1 much admired in his day1 and had a very distinct charm of his own1 in spite of his somewhat rigid adherence to old traditions4 ,many of his pictures are still in their original places in the churches of ,siena1#agi and there are also some good specimens of his work in the ,accademia delle ,belle ,arti in that town4 #bd4 #adgc4 ,giovanni di ,maestro ,stefano di ,giovanni4 ,son of the celebrated painter1 usually called ,sassetta4 ,we first hear of him in #adeb1 as appealing for judgment in the matter of the price of a fresco1 over the ,porta ,romana1 left unfinished by his father's death2 7subsequently completed by ,sano di ,pietro1 and ,lorenzo di ,pietro1 commonly called ,il ,vecchietta74 ,in ,august #addf1 he was commissioned1 with the assistance of the goldsmith ,francesco d',antonio1 to make a silver head of ,sta4 ,caterina1 for the ,monks of ,s4 ,domenico in ,siena4#ahj ,he made a model for the head1 which ,francesco executed in silver2#aha and perhaps the tabernacle also1 although that has been attributed to ,vecchietta4 ,in #adff-fh1ahb we find a petition1 addressed to the ,signoria1 for the erection of two stone wolves outside the ,porta ,nuova1 or ,romana4 ,these are generally supposed to have been the work of this artist4 ,in #adgg1 he was recommended by the ,signoria of ,siena to ,federigo1 ,duke of ,urbino2 and in #adha1 was witness to the commission1 given by the ,opera del ,duomo1 to ,urbano di ,pietro1 ,antonio ,federighi1 ,vito di ,marco and ,luigi di ,ruggiero1 to execute the ,sibyls on the ,duomo ,pavement2 one of which 7the ,cuman7 we know was1 in the following year1 his work4 ,in #adhg1 he executed the statue of ,s4 ,ansano 7formerly attributed to ,neroccio di ,bartolommeo ,landi1 of whom presently7 in the ,chapel of ,s4 ,giovanni in the ,duomo4#ahc ,in #adbg1 in company with ,giacomo ,cozzarelli1 and ,domenico di ,matteo1 he made a valuation of the bronze doors1 for the ,libreria in the ,duomo1 executed by ,giacomo ,ormanni2 and in the same year we read of the dispute with his workmen1 to which we have alluded above4 ,in #adig-ih1 he also executed two of the bronze angels#ahd for the ,high ,altar of the ,duomo4 ,the celebrated sculptor1 ,lorenzo di ,mariano1 better known as ,il ,marrina1 was one of his pupils4 #be4 #adgc4 ,bartolommeo de' ,domenico ,calabrone4 #bf4 #adgc4 ,francesco di ,bartolommeo4 ,both these men appear to have been sculptors1 and are associated together1 as arbitrators1 with ,urbano da ,cortona1 in the dispute referred to above1 between ,giovanni di ,stefano and his workmen4 ,of the former1 we also find a record1 under date ,august #aath1 #aejg1 as arbitrator between ,lorenzo di ,mariano 7,il ,marrina7 and ,battista di ,simone1#ahe and we are told that he was surnamed ,baccelli1 and died in #aeca4ahf ,of ,francesco we know nothing more1 except that he also signed the contract with the ,lombard sculptors4 #bg4 #adhb4 ,giuliano di ,biagio4 ,of this artist1 we know nothing1 beyond the reference to his work on the ,pavement1 of which mention has been made above4 ,he appears1 however1 to have been not merely the mason1 but also the contractor1 who procured the marble for his own work4#ahg #bh4 #adhb4 ,vito di ,marco4 ,a ,german1 who1 with his brother ,giovanni1 came to settle in ,siena1 as a mason4 ,he was1 as we have seen above1 a pupil of ,antonio ,federighi1 and was employed under him1 on the works at ,orvieto4 ,in #adgc1 he was also party to the contract between the ,sienese and ,lombard sculptors4 ,in #adhc-hd1 he was commissioned1 in company with a certain ,lucillo di ,maestro ,marco1 to execute the tomb of ,tommaso del ,testa ,piccolomini1 ,bishop of ,pienza and ,montalcino1#ahh which commission1 through his absence from ,siena1 and the death of ,lucillo1 was transferred in the following year to ,neroccio di ,bartolommeo ,landi4 ,in #adhg1 he executed the faade of the church of ,s4 ,andrew at ,orvieto1 in which city we find him still working in #adhi-ia4 ,he died in #adie4 #bi4 #adhb4 ,luigi di ,ruggiero1 surnamed ,l',armellino4 ,this man also joined in the above-mentioned contract with the ,lombard stone workers 7#adgc74 ,in ,january1 #adhf-hg1 we find the ,signoria of ,siena writing to ,ottaviano1 ,count of ,mercatelli1 on his behalf1 for arrears of salary due to him for work done4#ahi ,he also appears to have been a contractor1 as well as a sculptor4#aij #cj4 #adhc4 ,bastiano di ,francesco di ,sano4 ,this man was a sculptor and a painter1 but it is uncertain whether he is the same person1 as the ,florentine sculptor ,bastiano di ,francesco1 who1 with ,francesco di ,giovanni1 was employed to build the tomb of ,pope ,pius ,,iii4 in ,s4 ,peter's at ,rome4#aia ,we do not know much about him1 beyond the work which he did in the ,duomo4 ,in #adha1 he assisted ,guidoccio ,cozzarelli1 ,benvenuto di ,giovanni del ,guasta1 and ,pellegrino di ,mariano1 in decorating the interior of the ,cupola with sculpture and painting4 ,we gather1 that in #adhd1 he moved the beautiful tomb of ,cardinal ,petroni1 by ,tino di ,camaino1#aib from its original place near the present ,cappella del ,voto1 to its present lofty position1 by the ,cappella di ,s4 ,giovanni4 ,to him1 in the same and following years1 are also due the carved festoons1 monstrous cherub heads1 and painting and gilding round the east window 7,occhio7 of the choir4 ,twice we hear of him in legal difficulties3 once1 as we have mentioned already1 with ,urbano da ,cortona in #adga2 and again in #adgg1 when a certain doctor of laws1 one ,prospero ,poccio1 complained to the ,podest1 that ,bastiano would not finish a picture for him1 that he had contracted to do4#aic ,he appears to have lived in the ,valle ,piatta at ,siena4#aid 7,ill4 ,,xxiii47 ,illustration3 ,,alinari ,,photo4 ,,by ,,bastiano ,,di ,,francesco4 ,,xxiii4 ,,the ,,story ,,of ,,jephthah 7,no4 #aa7 #ca4 #adhc4 ,benvenuto di ,giovanni del ,guasta4 ,this versatile artist was the son1 as we have seen1 of a certain ,giovanni di ,meo del ,guasta1 a mason from ,san ,quirico4 ,he was born the #acth of ,september1 #adcf1 and died about #aeah4 ,he married ,jacopa1 daughter of ,tommaso da ,cetona1 by whom he had three daughters1 and a son1 ,girolamo1 also a clever artist4 ,in #adff1 we find him in company with ,sano di ,pietro1 valuing the decorative work on two chests1 made by a certain ,francesco d',andrea1 for ,ambrogio ,spannocchi4 ,in #adha-hb1 as we have already noted1 he was employed on the decoration of the interior of the ,cupola in the ,duomo1 where he painted thirty-five figures1 for which he received a sum of #aje lire4#aie ,in the same year1 he painted miniatures in the ,antiphonaries1 for the ,duomo2 one of which1 the largest1 represented 8the ,giving of the ,keys to ,s4 ,peter10 for which he received #bg lire #ad soldi4#aif ,that he was much admired in his day as a painter1 is evident from the number of notices still to be found of payments made to him for banners1 bier-heads and pictures of various sorts1 by ,convents and ,guilds4 ,many of these still exist1 either in the ,churches for which they were painted1 or in the ,picture ,gallery4#aig ,in #aejh1 he was called as witness1 in a lawsuit between ,giovanni ,battista di ,bartolommeo ,alberti and the heirs of ,neroccio ,landi1 as to the price of an unfinished picture by that artist4 ,from the two inventories of his property1 made in #adia and #aeji1 and the list of goods bequeathed by him to his son ,girolamo1 we gather that he lived in houses of his own3 first1 in the district of ,camollia2 and latterly1 in that of the ,rialto in ,siena4 #cb4 #adhc4 ,neroccio di ,bartolommeo di ,benedetto ,landi4 ,this great artist was equally celebrated1 both as sculptor and painter4 ,he belonged to the noble family of ,landi1 who are described as 8of ,poggio ,malevolti01 to distinguish them from the family of ,landi ,sberghieri4 ,he was born in #addg1 and died in #aejj4 ,he was twice married3 first1 to ,elisabetta1 daughter of ,antonio ,cigalini1 who died in #adhc2 and1 secondly1 in #adic to ,lucrezia1 daughter of ,antonio ,paltoni1 who bore him several sons1 one of whom was a painter as was his father4#aih ,many of his pictures and statues still exist in ,siena1 in the places for which he designed them4 ,in #adge1 he appears to have quarrelled with ,francesco di ,giorgio2 a dispute that was settled by the kindly offices of ,sano di ,pietro and ,lorenzo di ,pietro 7,il ,vecchietta74 ,in the following year we find the same ,sano di ,pietro1 with ,francesco di ,giorgio1 valuing a picture1 painted by ,neroccio1 for a certain ,bernardino ,nini4 ,in the records of the ,oratorio di ,sta4 ,caterina in ,fontebranda1#aii we find that this artist was paid #ca lire1 for a wooden statue of the ,saint1 which still stands over the altar in that ,chapel4 ,in #adha1 he was engaged to work for the ,duke of ,calabria1 and also for the ,abbot of the ,benedictine ,convent at ,lucca4 ,in #adhd-he1 he received the commission 7originally given to ,vito di ,marco and ,lucillo1 but cancelled through the absence of the former1 and the death of the latter71 to execute the tomb of ,bishop ,tommaso del ,testa ,piccolomini4#bjj ,this tomb is now over the door1 leading from the ,cathedral to the stairs of the ,campanile4 ,in #adhg1 he was also directed to make the beautiful statue of ,s4 ,catherine of ,alexandria for the ,chapel of ,s4 ,giovanni in the ,duomo2 but his death left the work unfinished4 ,we find two notices with reference to this work1 dated #eth of ,february1 #adhg-hh1 and #bast of ,august1 #aejbbja respectively3 the first recording the payment of an advance of #dj lire to the painter himself1 and the other of a further payment 7in accordance with the valuation of ,giacomo ,cozzarelli and ,ventura di ,ser ,giuliano7 of #bjb lire more to his heirs4 ,these heirs1 as we have seen above1 also had a lawsuit over another unfinished work of his1 with one of his pupils1 ,giovanni ,battista di ,bartolommeo ,alberti4 ,milanesi quotes some interesting documents in connection with this lawsuit in his notes4#bjb ,the names of some of his pupils1 besides the above-mentioned ,giovanni ,battista di ,bartolommeo ,alberti are as follows3 ,giovanni di ,tedaldo1 ,leonardo di ,ser ,ambrogio de' ,maestrelli1#bjc ,taldo di ,vittore1 and ,achille di ,pietro di ,paolo del ,crogio4#bjd #cc4 #adhc4 ,guidoccio di ,giovanni ,cozzarelli4 ,this artist must not be confused with the more famous ,giacomo di ,bartolommeo di ,marco ,cozzarelli1 who was a sculptor and worker in metal1 nor do we know1 whether or no1 he was related in any way to the engineer ,giovanni ,cozzarelli1 a notice of whose work on a bridge at ,macereto1 we find under date #crd of ,november1 #adhg4bje ,this man was a painter of considerable ability1 whose pictures may be studied in the ,picture ,gallery1 and who executed some of the miniatures in the ,duomo ,antiphonaries4 ,we read that in #addg1 he was employed with ,sano di ,pietro1 to decorate the ,chapel 7now destroyed7 of the ,madonna delle ,grazie in the ,cathedral2 and that in #adha1 he was employed on the decoration of the interior of the ,cupola4 ,professor ,luigi ,mussini#bjf suggests that the ,tavoletta di ,biccherna 7,no4 #cd of those preserved in the ,archivio di ,stato71 representing ,the ,presentation of the ,virgin in the ,temple1 is by him4 #cd4 #adhd4 ,bernardino d',antonio4 #ce4 #adhd4 ,cristofano di ,pietro ,paolo del ,quarantotto4 ,of these men nothing is known but the reference to them here4 #cf4 #aeje-f4 ,bernardino di ,benedetto or ,betto 7,il ,pinturicchio74 ,of this painter1 and his work1 so much has been written elsewhere1 that ,i shall only attempt the briefest sketch of his life here4 ,he was a native of ,perugia1 was the son of a certain ,betto or ,benedetto1 and was born in #aded4 ,he had six children by his wife ,grania3 ,adriana1 who married ,giuseppe1 son of ,giovanni of ,perugia1 and died in #aeah3 ,clelia or ,egidia1 who married ,girolamo1 son of ,paolo of ,perugia1 called ,paffa1 a soldier of the guard of ,siena2 ,giulio ,cesare 7b4 #aejf72 ,camillo 7b4 #aeji72 ,faustina ,girolama 7b4 #aeaj72 and ,faustina1 who married ,filippo1 son of ,paolo of ,perugia1 or of ,deruta4 ,his frescoes in the ,libreria of the ,duomo1 and the chapel of ,s4 ,giovanni1 are among the most celebrated of ,italian works of art4 ,vasari relates many more or less fictitious stories about his life and doings1 which1 though amusing to read1 are not borne out by fact4 ,he died in #aeac1 and was buried in the ,church of ,,ss4 ,vincenzo and ,anastasia1 the ,chapel of the ,contrada of the ,porcupine 7,istrice74 #cg4 #aeje-f4 ,paolo ,mannucci4 ,of this artist1 nothing is known1 but the notice already quoted1 which states that he was employed to execute ,pinturicchio's design of the ,allegory of ,fortune4 7,no4 #cf47 ,illustration3 ,,lombardi ,,photo4 ,,lily ,,designed ,,by ,,antonio ,,federighi 787 ,a4 ,,designed ,,by ,,domenico ,,beccafumi ,,xxiv4 ,,drawings ,,of ,,details #ch4 #aeah4 ,domenico di ,jacopo di ,pace ,beccafumi1 called ,mecarino 7or ,mecherino74 ,this very celebrated painter and sculptor was the son of a certain ,giacomo 7,jacopo7 di ,pace1#bjg a labourer on the ,podere of ,cortine1 near the ,castle of ,montaperto1 and was born in #adhf4 ,this ,podere was the property of the ,sienese noble1 ,lorenzo ,beccafumi1 who1 more than once held high offices in his native town4 ,the boy early showed remarkable artistic promise1 and used to amuse himself modelling animals1 flowers1 and leaves in clay4 ,lorenzo ,beccafumi1 one day seeing these efforts1 and being struck by their promise1 took him into his house1 as a sort of servitor1 but also gave him the opportunity of studying art4 ,near the house of the ,beccafumi family1 was then living an artist1 named ,mecarino1 of poor ability and circumstances1 but possessing a fine collection of drawings by good masters4 ,these the young ,domenico studied carefully1 and on the death of ,mecarino1 by that artist's special wish1 assumed his name4 ,in later years1 he also added1 by permission of his first patron1 the name of ,beccafumi4 ,he was married twice4 ,by his first wife1 ,andreoccia1 of whose family and origin nothing is known1 he had a son1 ,adriano1 who died poor and childless in #aehh4 ,by his second wife1 ,caterina1 sister of ,pietro ,cataneo1 the ,sienese architect and mathematician1 he had two daughters3 ,ersilia 7b4 #aece71 and ,polifila 7b4 #aegc71 who became afterwards a ,gesuate nun1 under the name of ,suor ,cecilia4 ,his work was very much sought after1 and is to be found in all directions1 in churches and palaces alike1 throughout ,siena4 7,ill4 ,,xxv47 ,at one time1 he came very much under the influence of ,giovanni ,antonio ,bazzi 7called ,il ,sodoma71 in whose company he worked1 from #aeah to #aecb1 at the decoration of the ,oratorio di ,s4 ,bernardino1#bjh but subsequently1 became his rival and bitter enemy4 ,one of his earliest works in ,siena was1 in #aeac1 the decoration in fresco of the faade of the ,palazzo de' ,borghesi in the ,piazza di ,postierla1 opposite the house of ,agostino ,bardi1 soon afterwards adorned in similar materials by ,sodoma4#bji ,in ,february1 #aeae1 he purchased a house1 numbered #djh1 in the ,via dei ,maestri 7now ,via ,tito ,sarocchi71 for which he paid #bgj florins1 and1 in #aede1 another house next door for #bde florins4#baj ,we find him continually in request to value works of art of all kinds3 panel-pictures1 frescoes1 bronze crucifixes1 marble tombs1 etc41 and ,guilds were always employing him to paint bier-heads and banners for them4 ,among the latter1 we are told that he was engaged by the ,compagnia di ,s4 ,sebastiano in ,camollia1 to complete ,sodoma's celebrated banner of ,s4 ,sebastian 7now in the ,uffizi ,gallery in ,florence74#baa ,in #aebi1 and again in #aece1 he received commissions to decorate the ,sala del ,concistoro in the ,palazzo ,pubblico2 and on the occasion of the visit of ,charles ,v4 to ,siena 7#bcrd of ,april1 #aecf71 he1 in company with ,anton ,maria di ,paolo ,lari 7nicknamed ,il ,tozzo7 and ,lorenzo ,donati1 designed and erected a triumphal arch and other decorations1 including a gigantic horse in papier-mch1 in honour of that ,emperor4#bab ,he was also famous as a worker in bronze1#bac and among the works done by him in this metal1 the most celebrated1 now known1 are six of the bronze angels1 holding lights1 affixed to the columns in the ,choir of the ,duomo4 ,for this work he received #aa1fjj lire from the ,opera del ,duomo4 ,according to a contemporary ,register of persons buried in the ,duomo1 ,beccafumi died on the #ahth ,may1 #aeej1 and was buried there3 other authorities state that his death occurred in the following year4#bad ,giorgio di ,gio4 ,simone was one of his pupils1 and ,giovanni ,battista di ,girolamo ,sozzini 7of whom presently7 was another4 ,illustration3 ,,lombardi ,,photo4 ,,designed ,,by ,,domenico ,,beccafumi ,,xxv4 ,,the ,,story ,,of ,,moses ,,and ,,the ,,tables ,,of ,,the ,,law 7,no4 #eb7 #ci4 #aeah4 ,bernardino di ,jacomo4 ,of this sculptor nothing much is known4 ,in company with a painter named ,francesco di ,bartolommeo1 in #aeee1 he valued a picture painted by ,lorenzo di ,cristofano 7il ,rustico7 and his pupils1 for the ,confraternit di ,s4 ,michele2 and he was in #aeei-fj1 commissioned to make three coats of arms in tufa1 to decorate the faade of the ,palazzo ,pubblico4 #dj4 #aeah4 ,giovannantonio ,marinelli1 called il ,mugnaino4 ,of this sculptor we find no trace2 but we read of another workman in the same craft1 by name ,anton ,maria1 who was also nicknamed il ,mugnaino4 ,this artist in #aehc1 with another sculptor1 ,domenico ,capo1 was employed to make marble ornaments for an altar in the ,duomo4#bae #da4 #aeah4 ,giacomo di ,pietro ,gallo4 #db4 #aeah4 ,bartolommeo di ,pietro ,gallo4 ,of these two brother masons nothing is known4 ,they may have been related to the cannon-founder1 ,mos ,gallo1 whom we find referred to in #aejb1 as making guns for the ,commune of ,siena2#baf or they may have been related to the family from which came ,sodoma's wife1 ,beatrice1 daughter of ,luca di ,gallo4 #dc4 #aeah4 ,niccolo ,filippi4 #dd4 #aeah4 ,cristofano di ,carbone4 #de4 #aedd4 ,pellegrino di ,pietro4 ,the only information to be found1 concerning this sculptor1 is that he was employed to make a tomb for the ,marsili family1 which was valued by ,francesco ,tolomei and ,domenico ,beccafumi4#bag #df4 #aefb4 ,giovanni ,battista di ,girolamo ,sozzini4 ,this painter and sculptor was born in ,siena in #aebe1 and studied the arts of drawing and painting under ,bartolommeo ,neroni 7,il ,riccio74 ,he was also a pupil of ,beccafumi's1 and in addition learned to make portrait-effigies in stucco and wax under ,pastorino ,pastorini1 in which art he excelled4#bah ,he was brother to the celebrated ,alessandro ,sozzini1 ,diarist of the last ,siege of ,siena1 and died in #aehb4 ,his work1 as we have said above1 was much admired in its day4 #dg4 #aefb4 ,niccolo di ,girolamo ,gori1 ,with his brother ,antonio was1 in #aeeb1 party to a receipt in full1 given by the ,opera del ,duomo to ,pastorino ,pastorini1 the painter and worker in glass1 for work done there4#bai #dh4 #aefb4 ,domenico di ,pier ,giovanni4 ,of this man also no record is to be found1 but perhaps he was the son of the mason1 ,pier ,giovanni1 mentioned in a document dated #aecg1 who opened up an arch for a niche in connection with ,sodoma's work on the ,cappella di ,piazza4#bbj ,from this time1 for over #bjj years1 the ,pavement work stood still1 until3 #di4 #aghj4 ,carlo ,amidei1 a craftsman of a very mediocre type4 #ej4 #aghj4 ,matteo ,pini1 who was probably only a mason4 ,then another century passed away1 until our own day4 #ea4 #ahge4 ,professor ,alessandro ,franchi4 #eb4 #ahge4 ,professor ,leopoldo ,maccari4 #ec4 #ahge4 ,antonio ,radicchi4 #ed4 #ahge4 ,giuseppe ,radicchi4 ,these names belong to the ,history of ,modern ,italian ,art1 so that ,i need do no more than mention them in passing1 as they hardly come into the scope of this work4 ,,chapter ,,iv ,,other ,,pavement ,,work ,as far as ,i have been able to ascertain1 there are but three other examples of ,pavement work1 similar to that employed in the ,siena ,duomo4 ,mosaic pavements1 of course1 abound all over ,italy1 with more or less elaborate designs1 fanciful1 historical1 or symbolical2#bba but none of them really resembles this kind of work1 which seems to have been peculiar to the artistic mind of the ,sienese4 ,the only other works1 that ,i can find1 that can1 in any degree1 be allied to it are3 #a4 ,the ,cathedral ,pavement at ,lucca4 #b4 ,the ,pavement of the ,piccolomini ,chapel at ,s4 ,francesco1 in ,siena4 #c4 ,the ,pavement of the ,chapel of ,sta4 ,caterina in ,s4 ,domenico1 in the same town4 ,let us take them in order of date4 #a4 ,the ,cathedral ,pavement at ,lucca4 ,this floor is covered with geometrical patterns in inlay1 and was executed during the ,rectorship of ,jacopo di ,chivizzano 7#adgj-adhd74 ,we know1 from several references in the ,archives of the 8,opera0 of that ,cathedral1 that it had been commenced before #adge1bbb and that1 among others1 ,matteo ,civitali1 the great ,lucchese sculptor1 was employed upon some of the designs on it4 ,it principally consists of merely ornamental friezes and geometrical designs4 ,in the centre of the ,nave1 however1 there is one picture1 to which ,i would draw special attention4 ,it represents the ,judgment of ,solomon1 and is the work of one ,antonio di ,ghino of ,siena4 ,it was commissioned1 we read1#bbc by a certain ,bartolommeo ,guarguaglia1 and finished in #adgg4bbd ,the work is of the same kind as that at ,siena1 but is coarser and heavier in type4 ,in design it most resembles the work of ,domenico di ,bartolo1 but there are suggestions in some of the female figures of the influence1--,botticellesque perhaps1--that produced ,matteo di ,giovanni's ,judith and her maid1 in the ,relief of ,bethulia4 ,solomon sits on a throne1 under a sort of pillared loggia1 surrounded by courtiers and attendants1 while before him stand the claimants and their infants4 ,the colouring of the picture1 the somewhat brutal force of the composition1 and the plentiful use of vari-coloured marbles1 recall ,matteo di ,giovanni's ,massacre of the ,innocents1 although that work was not executed until several years later4 ,being in the centre of the nave1 and not covered1 it has been much injured by time and hard usage4 ,of its maker1 ,antonio di ,ghino1 we know but little4 ,from a note given by ,milanesi1#bbe we gather that1 though here called 8da ,siena10 he really came of ,lucchese stock1 and was the son of one ,ghino di ,paolo of ,lucca1 a sculptor who lived long in ,siena1 and died in #adhb4 ,antonio apparently had a son1 who signed the ,painters' ,brief in #aecc4 #b4 ,the ,pavement of the ,cappella ,piccolominea in ,s4 ,francesco4 ,this chapel1 which was originally dedicated to ,s4 ,andrew1 has recently been entirely rejuvenated1 at the expense of the late ,signora ,anna ,camaiori ,saracini1 and re-dedicated to ,sta4 ,anna4 ,there is not1 therefore1 at first sight much trace of the original work left4 ,we know that1 in #aejd1bbf ,lorenzo di ,mariano 7,il ,marrina7 was employed by ,giacomo ,piccolomini1 brother of ,pope ,pius ,,iii41 to adorn their family chapel in this church2 and1 that he not only made an altar1 the decorations around the windows1 and the entrance arch to the chapel1 but also laid down four ,cardinal ,virtues3 ,justice1 ,prudence1 ,fortitude1 and ,temperance1 on the floor4#bbg ,of all this work1 the various conflagrations1 that have destroyed the great church of ,s4 ,francesco1 have left only the arch1 the coats of arms1 the windows1 a small portion of the altar1 and the pavement4 ,restoration1 of a too complete kind1 has even further concealed the original nature of what remained2 and one's first impression on looking at this pavement is that it is brand-new1 so well has ,professor ,leopoldo ,maccari done his work4#bbh ,the figures1 however1 on close inspection1 show high merit4 ,they are finely conceived1 on the lines of the ,sibyls in the ,duomo1 and are imposing pieces of work4 ,lorenzo di ,mariano 7,il ,marrina7 was one of the finest sculptors of his time4 ,he was born on the #aath of ,august1 #adgf1 and was the son of ,mariano di ,domenico ,nanni1 a goldsmith4 ,in #aejf1 he became ,capo-maestro of the ,opera del ,duomo1#bbi where he had been employed since #adij1 under the mastership of ,giovanni di ,maestro ,stefano4 ,on the #bhth of ,january1 in the following year1 he married ,elisabetta1 daughter of ,ser ,jacopo ,bertini1 by whom he had four sons3 by name1 ,girolamo1 ,gio4-,battista1 ,agostino1 and ,giacomo1 who were goldsmiths2 and one daughter1 ,bartolommea1 who married ,lattanzio di ,gio4 ,lotti4 ,he worked a great deal for the various members of the ,piccolomini family2 the finest extant piece commissioned by them remaining1 being the doorway of the ,libreria in the ,duomo4 ,a tabernacle in the chapel of the ,convent of ,s4 ,girolamo1 and1 above all1 the exquisite altar in the church of the ,fontegiusta by him1 testify that the admiration1 in which he was held1 in his day1 was not misplaced4 #c4 ,the ,pavement of the ,chapel of ,sta4 ,caterina in ,s4 ,domenico4 ,of this work we have no reliable record2 but it is clearly of late date1 perhaps made in the sixteenth century1 and most probably1 as a sepulchral memorial4 ,we learn from ,abate ,faluschi1#bcj that this chapel belonged to the ,benzi family1 and was their burial-place4 ,hither was brought the body of the famous ,marco1 son of ,giovanni ,benzi and ,nicola ,serfucci1 who was physician to ,niccolo1 ,marchese d',este1 and died in ,ferrara in #adbi4 ,the corpse was buried by his uncle ,ugo1 son of ,andrea ,benzi and ,minoccia ,pagni1 in #addh2 and the chapel was built over the grave by ,niccolo ,buonsignore ,benzi in #adhh4 ,the following inscription1 now effaced3-- ,,hic ,,lapis ,,egregii ,,marci ,,tegit ,,ossa ,,celebris4 ,,benzius ,,is ,,logicus1 ,,is ,,medicus-,,que ,,fuit4 ,,alter ,,erat ,,socrates ,,medicina ,,maximus ,,artis4 ,,hic ,,avicenna ,,fuit1 ,,isque ,,galenus ,,erat4 ,,quos ,,is ,,non ,,potuit ,,curasse 444 ,,egros ,,herbis ,,ne ,,credas ,,id ,,valuisse ,,deos4 was placed to the memory of ,marco ,benzi4 ,we find too1 that another physician1 ,sozzini ,benzi1 belonging to the same family1 was also buried here4 ,the decoration of this chapel1 by ,sodoma1 did not take place until #aebf2 and it is not improbable1 that the floor was subsequent to that date4 ,so that it may have been the work of the last of the ,pavement ,masters1 ,giovanni ,battista ,sozzini1 spoken of above4 ,the ,sozzinis were a distinguished family1 and if the name tells us anything1 may have been related to this very ,sozzini ,benzi4 ,the figure of sculapius1 seated among various wild beasts1 would then have appropriate reference to the merits of these two physicians4 ,it is strange to find such a classical piece of composition in a chapel dedicated to ,sta4 ,caterina di ,siena1 a saint so pre-eminently ecclesiastical2 but it is quite in accordance with the spirit of the time4 sculapius1 a handsome nude youth1 resembling ,orpheus or ,bacchus1 is seated on a rock in a grove of oaks1 laurels1 and fruit-trees4 ,in his right hand he holds a mirror in which is reflected his own face4 ,to his right1 are an unicorn and a wolf3 to his left1 a leopard and a lion4 ,perched on the trees1 in various directions1 are sundry birds3 owls1 vultures1 eagles1 etc4 ,one vulture1 on the right of the principal figure1 is screaming at a monkey1 who is eating fruit4 ,on the other side1 another bird is clawing at an over-grown squirrel4 ,around the composition is a frieze representing water1 on which are swimming swans and ducks4#bca ,the composition is good1 but the perspective is odd1 and the use of many coloured marbles profuse1 and not altogether happy4 ,,chapter ,v ,,materials ,,and ,,workmanship ,,of ,,the ,,pavement ,most of the writers on the ,pavement1 speak of its workmanship1 as being of four kinds4 ,this would give the idea of four distinct methods1 abruptly divided1 which is most certainly not the case4 ,the line of division is so indistinct1 and the various styles so blended one into the other1 that ,i can only describe it as an evolution1 during which four special changes took place4 ,the earliest and simplest method consisted in using large pieces of white marble1 shaped and put together 78commesso07 to form a sort of silhouette3 the perspectives1 folds of robes1 and other details being defined by lines made1 first1 with a graving tool1 and then accentuated by rows of holes1 7smaller or larger1 according to the importance of the particular line in the general composition71 pierced with a trepanning drill4 ,this is said to be a trapano1 and is in fact the real graffito work4 ,these punctures were frequently very deep1 and when filled up with a stucco1 composed of pitch 7pecie navale71 resin 7ragia71 and pounded potter's clay 7bolio macinato71 produced a surface hard1 and nearly as durable1 as the solid marble itself4 ,in order further to heighten the effect1 the pieces of white marble1 making up the entire scene or figure1 were inlaid against a piece of dark marble3 generally black for the atmosphere1 and red for the ground1 upon which the figures were supposed to stand4 ,in the ornamental friezes1 framing these scenes and figures1 marble of other colours very early began to be used4 ,then presently1 these coloured marbles found their way into the picture itself2 especially in the larger scenes1 where yellow1 for instance1 was found useful to accentuate jewellery or ornaments4 ,take as an example1 ,the ,massacre of the ,innocents 7,matteo di ,giovanni71 in which it is very largely employed4 ,to this end also1 black marble is twice introduced with startling effect3 for ,the ,libyan ,sibyl 7,guidoccio ,cozzarelli71 and for the negro boy in ,the ,story of ,jephthah 7,bastiano di ,francesco74 ,it is undoubtedly true1 that the finest effects are obtained1 where there is least variety in colour1 and where the artist has depended most entirely on simple line1 and contrasts of white marble against black4 ,a fine specimen of this treatment is ,the ,story of ,absalom 7,pietro del ,minella74 ,here the figures1 trees1 etc41 stand out with almost weird abruptness1 as if they had been cut out of white paper4 ,it must be borne in mind1 however1 7in spite of statements made to the contrary1 and the fact that such methods were employed elsewhere later on71#bcb that the marbles used on the ,pavement were always natural1 and not artificially coloured4 ,the ,duomo authorities appear to have had quarries1 either of their own1 or under contract to supply them regularly4 ,we read of nostro marmiera#bcc at ,gallena1 in the ,val d',elsa2 of black marble1 brought from chasciano de le donne 7,san ,casciano1 near ,radicofani72#bcd and of red from ,gerfalco in the ,val di ,cecina1 near ,massa ,marittima4#bce ,pinturicchio1 following out his ardent taste for brilliant and bizarre effect1 made plentiful use of these colour varieties2 but what probably makes the work of ,beccafumi so striking1 as compared with that of his predecessors1 is1 that in his later work he discards these vivid contrasts1 confines himself almost entirely to low tones of colour1 which shade from one into the other2 and produces his effects by a species of chiaroscuro4 ,instead of outlining each piece1 or figure1 in a single colour1 he frequently uses on the same subject1 white and two or three different shades of pale-coloured grey marble4 ,on a face1 or a nude figure1 this gives the effect of shadows of varying intensity1 but1 at times1 runs perilously near the ludicrous1 by making some of the persons parti-coloured4 ,in the ,elijah series1--his earliest work1--probably with an idea of improving on his predecessors1 he had introduced small pieces of vivid green and red marble1 to indicate jewelled borders to the robes of ,ahab1 and other important personages4 ,this treatment1 adopted again by ,professor ,franchi1 when completing that ,story1 he soon wholly discarded1 still retaining1 however1 the old graffito method for his outlines4 ,but this also he abandoned more and more as he proceeded4 ,had he not been so fine a draughtsman his experiments in this direction would have been dangerous4 ,even now1 it is doubtful1 whether the results are so practically durable1 or so artistically satisfactory1 on the floor1 as the older work4 ,it would seem1 as if they1 in a sense1 the apotheosis of this species of work1 should be set up perpendicularly1 so that the full effect of their superb draughtsmanship could be fairly perceived and appreciated4 ,professor ,franchi must have found himself in a great dilemma1 when he undertook to complete this work4 ,he could hardly revert to the manner of the pre-,beccafumi schools1 and it would have been too dangerous to imitate closely ,beccafumi himself4 ,fortunately1 he had special gifts1 and had the courage to follow his own instinct4 ,the result has been1 works1 which1 if in vivid contrast to all that had gone before1 and essentially modern in feeling1 are works of art of unquestionable brilliance4 ,they resemble cartoons in marble1 and are drawn with extraordinarily realistic force4 ,all the three larger designs are instinct with life1 and irresistibly suggestive of energetic movement4 ,we may especially notice for this ,elijah being caught up to ,heaven4 7,ill4 ,,xxvi47 ,illustration3 ,,lombardi ,,photo4 ,,by ,,prof4 ,,alessandro ,,franchi 7,,from ,a ,,drawing7 ,,xxvi4 ,,elijah ,,caught ,,up ,,to ,,heaven 7,no4 #ch7 ,in conclusion1 let me say1 that whatever may be the opinion of critics of undoubted ability3 first1 as to the suitability of a ,pavement1 such as this1 at all2#bcf and next1 as to the varying merits of this or that portion of it1 over any other3 there can be no doubt1 as to its paramount and unique interest1 historically1 as well as artistically4 ,it is in itself a small epitome of ,sienese ,art ,history3 a continuous chain1 whose links bind together1 in spite of long intervals1 more than five centuries of ,sienese art-workers2 and a never-ending joy to the thoughtful and the intelligent4 ,,footnotes #a ,these numbers refer to the position of these subjects on the plan 7p4 #ae74 #b ,documenti per la ,storia dell' ,arte ,senese1 collected and illustrated by ,dott4 ,gaetano ,milanesi 7,porri1 ,siena1 #ahed74 ,supplemented by ,nuovi ,documenti per la ,storia del ,arte ,senese1 by ,s4 ,s4 ,borghesi and ,l4 ,banchi4 7,torrini1 ,siena1 #ahih74 #c ,vasari also states that ,duccio invented this species of work2 but ,milanesi1 in his ,notes to ,vasari's 8,life of ,duccio0 7vol4 i4 p4 #fed71 says1 8,it is certain1 also1 that these works of #8putting together' 7commesso71 were in use before the time of ,duccio4 ,we have an ancient example in the ,atrium of the ,duomo at ,lucca1 where1 among certain #8little figures1' 7formelle71 is a decoration in black1 red and white marble1 with figures of men and animals1 in some parts engraved 7graffiti74 ,this work of #8commesso1' and mosaic in marble1 was made in #abcc1 as is shown by an inscription near the left side of the great door1 which states3 8,,hoc ,,opus ,,cepit ,,fieri ,a ,,belenato ,,et ,,aldibrando ,,operaiis ,a4,d4 ,,mccxxxiii40 #d ,mil4 ,doc41 vol4 i4 p4 #agf-agh4 ,an earlier notice as to the floor itself1 dated #acfb1 exists it is true1 and runs as follows3 8a lo schalzetta matonaio--per matoni che sebero per amatonare lo spazzo di duomo intorno al altare di duomo ,l4 #aa sol4 #f40 7,archivio dell' ,opera del ,duomo4 ,entrata e ,uscita ad annum74 ,but this clearly only refers to the laying down of an ordinary floor2 perhaps a platform for the high altar4 ,cf4 ,padre ,prof4 ,everardo ,micheli4 ,il ,pavimento del ,duomo1 etc4 ,note f4 #e ,archivio detto4 ,entrata e ,uscita ad annos4 #f ,frammenti di ,storia ,senese presso ,emilio ,piccolomini4 #g ,archivio detto4 #acgd1 ,maggio1 ,libro d',entrata ed ,uscita a #gj4 ,see also ,borghesi ,,mss4 #h ,archivio detto4 ,bastardello1 ,no4 #b1 del #adje1 a4 #fe4 #i ,apparently the working foreman or clerk of the works4 ,the terms used to describe the different offices are both confusing and misleading1 but it is evident from the documents that the ,rettore or ,operaio as he is indifferently called1 was a person of much greater social importance than the ,capo-maestro1 and not really a workman at all4 ,he was the official ,director of the ,cathedral works1 the ,steward in fact3 the ,capo-maestro being his head workman4 #aj ,these numbers refer to the plan on p4 #ae4 #aa ,see ,siena e il suo ,territorio1 p4 #bag1 and passim4 ,also ,mil4 ,doc41 vol4 i4 p4 #bch2 and ,sulla ,storia ,artistica ,senese1 p4 #hd4 #ab ,for references on this head from the ,archives of the ,opera del ,duomo1 see ,mil4 ,doc41 vol4 ii4 pp4 #ab1 #bch1 #bci4 #ac ,ferdinando ,rubini1 ,dei ,restauri eseguiti nella chiesa ,metropolitana in ,siena4 7,bargellini1 #ahfi-ahgi47 #ad #addh4 ,pavimentum quoque marmoreum ante portas ,templi ,senensis trinis scalis ascensis1 e marmore sterni fecit4 ,abel quoque sacrificium1 nec non ,publicanum et ,phariseum designari duo insuper vascula1 melle uno felle altero plenis1 e regione portarum extremarum notabili significazione depromi1 quoniam a summo et maximo ,deo in hujus mundi ingressu ac limine tum mala tum bona omnes sunt accepturi4--,tizio1 ,hist4 ,sen41 vol4 iv41 ad ann4 #ae ,alfonso ,landi4 ,descrizione del ,pavimento1 quoted in full by ,padre ,guglielmo delle ,valle4 ,lettere ,senese1 vol4 iii41 pp4 #abd-aeg4 #af ,the author of ,siena e il suo ,territorio1 p4 #baa1 states that these figures were executed originally in #aeac1 and suggests that they may have been designed by ,giacomo ,cozzarelli2 but ,i have hitherto found no authority to support that statement1 and they are now too much restored to assist one's judgment by comparison with other work of that artist4 ,moreover1 as ,giacomo ,cozzarelli at that date would have been very old1 since we read of work done by him as far back as #addg1 this is very improbable4 #ag ,archivio dell' ,opera del ,duomo4 ,libro ,e4 ,,iv4 ,memorie1 a4 #ba4 ,archivio detto4 ,libro delle due ,rose dal #adff al #adgf1 a4 #fd4 #ah ,archivio detto4 ,libro ,e4 ,,iv4 ,memorie1 a4 #bd4 #ai ,it is generally supposed that this ceremony was performed by ,pope ,alexander ,,iii4 7,bandinelli71 but the tradition is unsupported by documentary evidence hitherto obtainable4 ,this same ,pope laid the foundation stone of the ,cathedral of ,notre ,dame in ,paris in #aafc4 ,see ,paris als ,kunststtte1 ,georges ,riat4 7,seemann4 ,leipzig and ,berlin1 #aija47 #bj ,archivio detto4 ,libro ,debit e ,credit dal #adda al #adig1 a4 #big 7on the back74 #ba ,la ,guida ,artistica1 p4 #ef4 ,milanesi1 ,sulla ,storia dell' ,arte ,toscana1 ,scritti ,varii1 p4 #eb4 #bb ,archivio detto4 ,libro ,verde dal #adda al #adeg1 a4 #hi4 ,libro ,e4 ,,iv4 ,memorie1 a4 #bd4 ,libro ,e4 #e4 ,debit4 a4 #aaj 7on the back74 #bc 8,the ,shepherd of men4 ,de ,potestate et ,sapientia ,divina40 ,the ,editio ,princeps of this work appeared in ,paris in #aeed4 ,it was edited by ,parthey1 in #ahed1 and had been translated into ,german1 by ,tiedemann1 in #agha4 ,the connection of the name of ,hermes with alchemy will explain what is meant by hermetic sealing1 and will account for the use of the phrase1 hermetic ,medicine1 by ,paracelsus2 as also for the so-called hermetic ,freemasonry1 of the middle ages4 #bd ,siena e il suo ,territorio1 p4 #bba4 #be ,this design was restored by ,sig4 ,l4 ,maccari1 in #ahff 7,f4 ,rubini1 ,dei ,restauri1 etc471 at a cost of #c1djc lire #cj c4 #bf ,for which #h1ijj lire #dh c4 were paid4 #bg #aejd 7,st4 ,sen471 #ac ,marzo4 ,a maestro ,bernardino ,pinturicchio dipentore per sua fadiga d'avere fatto uno cartone di disengno per la ,storia de la ,fortuna1 la quale al presente si fa in ,duomo questo di #ac ,marzo--lire dodici sol4--contanti per detto messer ,alberto nostro4 ,io ho fatto boni a messer ,alberto per una soma di grano de' al detto maestro ,bernardino4 ,archivio detto4 ,libro d',entrata e ,uscita4 #aejd a #dg4 #bh #aejf4 ,in detto anno si faceva la storia della fortuna4 ,forse f lavorata da ,paolo ,mannucci ,archivio detto4 ,libro ,rosso d'un ,leone a #aj8 ,milanesi ,,ms4 notes p4 #cb 7on the back74 ,compare also ,landi1 who in his ,descrizione del ,pavimento1 although by mistake he applies his reference to the ,wheel of ,fortune1 tells us that the ,rectorship was in commission at this time4 ,he states further that ,paolo ,mannucci was1 on the #afth of ,april1 #aejf1 paid #bd scudi for the execution of this work4 #bi #acgb4 ,novembris decima die ,edis sacre maioris pavimentum marmoreum quod medium est1 stratum fuit1 et fortune rota cum hominibus posita fuit4 ,tizio1 ,hist4 ,sen4 ad annum4 #cj ,cf4 ,borghesi and ,faluschi ,,mss4 ,lists of ,operaii4 #ca ,la ,guida ,artistica1 p4 #ig1 ,note4 #cb #adhb4 8,quinque interea ,sibille1 ,alberti ,aringhieri ,editui opera1 ,pavimento ,edis majoris in campanilis deambulario constrate sunt40 ,tizio1 ,hist4 ,sen41 vol4 vi41 #ff4 #adhc4 8,quinque ,sibille ad levam majoris ,edis versus ,cappellam ,cardinalis ,francisci 7,piccolomini71 ,alberto ,aringherio ,edituo1 posite sunt40 ,vol4 vi41 #hg4 #cc ,dies ,irae6 ,dies illa6 ,solvit ,saeclum in favill4 ,teste ,david cum ,sibill4 #cd ,tower of the ,duomo1 ,florence4 #ce ,sala del ,cambio1 ,perugia4 #cf ,sta4 ,maria del ,popolo1 ,rome4 #cg ,sta4 ,maria della ,pace1 ,rome4 #ch ,the ,sixtine ,chapel1 ,rome4 #ci ,it may interest ,english readers to be reminded that1 at the famous fte given at ,kenilworth ,castle by the ,earl of ,leicester in the summer of #aege1 the first group of fantastic personages that approached to greet the ,virgin ,queen on her arrival were robed in the likeness of ten ,sibyls4 ,see ,queen ,elizabeth1 by ,mandell ,creighton1 late ,bishop of ,london1 p4 #aef4 7,longmans1 ,london1 #ahii47 #dj #adhb4 ,luglio #ai4 ,giuliano di ,biagio1 e ,vito di ,marco1 scarpellini1 deno avere a di #ai di ,luglio #adhb lire cinqueciento settantanove e soldi x3 sonno per un quadro di marmo o pavimento anno fatto in ,duomo rincontro all'altare di ,s4 ,chalisto1 a quadrucci bianchi e neri1 e fregi rossi1 neri e bianchi e la ,sibilla ,delficha in mezzo campeggiata di nero4 ,archivio detto4 ,libro ,giallo delle tre ,rose a #cdb e #cde4 #da ,f4 ,piper1 ,mythologie der christlichen ,kunst1 pp4 #dgc and #dig 7note74 #db ,la ,guida ,artistica1 p4 #bd4 #dc #adhb4 ,a ,luigi di ,ruggeri scarpellino e fameglio de' nostri ,magnifici ,signori1 altrimenti chiamato l',armellino1 lire ciento quatro3 e sono per cavatura di libre ciento trentana 7sic7 nove di marmo rosso chavate a ,gierfalco a sol3 xv braccio1 cio sonno braccie quadre1 di pi tavole1 e fregi per li spazi di ,duomo e per le ,sibille4 ,archivio detto4 ,libro d'un ,leone a #cd 7on the back74 #dd ,f4 ,piper1 ,mythologie der christlichen ,kunst1 p4 #dgc4 ,but the identification of the ,sibyls entails immense confusion4 #de #adhb1 ,luglio #ai4 ,maestro ,giovanni di maestro ,stefano e compagni scharpellini1 deno avere lire #fig4 #i #b41 sonno per uno quadro e pavimento an fatto in ,duomo a rinpetto de la ,madona anticha a marmi bianchi1 rossi e neri con la ,sibilla in mezzo a tutte loro spese4 ,archivio detto4 ,libro ,giallo delle tre ,rose1 a #cdb e #cde4 #df #adhb1 ,luglio #ai4 ,maestro ,antonio di ,federighi1 maestro di pietra1 de' avere lire #fdi4ag1 sonno per braccia ciento trentasse #ac_/af d'uno quadro1 o pavimento rincontro all' altare di ,santo ,antonio a marmi bianchi1 rossi e neri4 ,archivio detto4 ,libro detto1 a #cdb e #cde4 #dg ,f4 ,piper1 ,mythologie der christlichen ,kunst1 p4 #dgc4 #dh ,see above4 #di #adha1 ,settembre #bj4 ,archivio de' ,contratti di ,siena4 ,rogiti di ,ser ,giovanni di ,daniello4 #ej #adhc1 #h ,ottobre4 ,mo4 ,urbano di ,pietro scultore--di avere a di viij dottobre #adhc1 ,l4 #fje4 #ab per br4 #abg e mezzo di spazo in uno quadro a lavorato in duomo con una ,sibilla rinpetto aluscio del chanpanile4 ,archivio dell' ,opera del ,duomo di ,siena4 ,libro ,giallo di tre ,rose a #chj4 #ea ,in ,siena one may notice two other pictures of her3 one in the ,sacristy of the ,church of ,sta4 ,maria sotto le ,volte del ,ospedale2 and the other the celebrated painting by ,baldassare ,peruzzi1 in the ,church of the ,fonte-giusta4 #eb #adhc4 ,archivio detto4 ,libro ,rosso d'un ,leone ad annum a4 #ch4 #ec ,giuliano di ,biagio1 scarpellino1 ha lire quarantuna1 soldi quindici per vettura di libre #i1caj di marmi rechati da ,gierfalco per li pavimenti de le ,sibille verso l'altare dei ,calzolari4 ,archivio detto4 ,libro detto ad annum a4 #ce4 #ed #adhc1 ,maggio #bc4 ,matteo di ,giovanni1 dipentore a di #bc di ,maggio lire #d4--sonno per disegno f d'una ,sibilla dinanzi all' altare de' ,chalzolari4 ,archivio detto4 ,entrata e ,uscita ad annum a4 #de4 ,cf4 also ,archivio detto4 ,libro ,rosso d'un ,leone4 ,debit e ,credit a4 #ce-ch4 #ee ,it is worth noting1 though1 that all the three ,sibyls mentioned by ,heraclides ,ponticus 7see above7 are1 according to this supposition1 variations of the same personage4 #ef ,sismondi1 ,histoire des ,republiques ,italiennes du ,moyen ,age1 vol4 xi41 chap4 #hh4 #eg ,archivio detto4 ,libro detto a #ch4 #eh ,the restoration of it cost #b1daa lire #dg c4 #ei #adhc4 ,guidoccio 7,cozzarelli7 disegna la ,sibilla avanti l'altare dei ,,ss4 quattro ,coronati4 ,tizio1 ,hist4 ,sen41 vol4 vi4 ,cf4 also ,archivio detto4 ,libro detto4 ,debit4 e ,credit4 a #ce-ch4 #fj ,abate ,faluschi states as much in his ,,ms4 notes on the ,duomo ,pavement 7p4 #ca on the back71 but so far ,i have been unable to find any definite authority on the point4 #fa #adhd4 ,hoc ,anno ,alberti ,aringhieri cura quoniam ,edituus erat 444 historiam ,herodis cum ,socero ,areta dimicantis 444 constrata est et decenti opificio pavimento inserta4 ,tizio1 ,hist4 ,sen41 vol4 vi41 p4 #acg4 #adhe4 ,ottobre #c4 ,maestro ,benvenuto di ,maestro ,giovanni dipintore die avere per insino a'iii d',ottobre #adhe1 lire sesantotto--sonno per disegniatura del pavimento s' fatto della storia di rincontro alla chappella di ,santa ,chaterina 7now ,s4 ,giovanni74 ,archivio detto4 ,libro detto a #aaj4 #fb #adhd4 #ab ,gennaio 444 ,e pi ,l4 sedici sono per fare disegni spolvari e dipegnarli overo disegnarli a fregi della storia attorno si fa rincontra al altare di ,santa ,catherina4 ,archivio detto4 ,libro d'un ,lione a #ajg 7on the back74 #adhc-d4 #ac ,gennaio4 ,m4 di ,bastiano di ,francesco dipintore et scharpellino a di xiii di ,gennaio ,l #ah1 sonno per parte di sua fatiga a disegniare el fregio de la storia di s4 ,chaterina 7now the ,chapel of ,s4 ,giovanni7 in ,duomo4 ,nel #c ,aprile gli si danno quaranta sol3 per resto di ,l4 #ah per #fj lettere di marmo nela ,storia fatta in ,duomo4 ,archivio detto4 ,libro detto a #hg4 ,apparently1 judging from the date1 the frieze and these letters may have preceded the execution of ,benvenuto di ,giovanni's design4 ,the letters referred to probably were those inscriptions that we still see1 recording the work done under the directorship of ,aringhieri1 and the dates at which it was executed4 #fc #adhd-e #ab ,gennaio4 ,bernardino d',antonio e ,cristofano di ,pietro ,paolo del ,quarantotto lavorano nel fregio del ,leone e nella storia quando fu cacciato ,erode4 ,archivio detto4 ,libro detto4 a #aaa4 #fd #adhd4 #c ,aprile4 ,vito di ,marcho scharpellino di avere a di iii ,aprile ,l4 cientoventi sol4 sette den4 otto sono per ,ba44 787 tre e uno terzo di fregio a lavorato a uno lione nel fregio de la storia del pavimento rimpetto alaltare overo chappella dinanzi a la ,chappella nuovamente si lavora per lo braccio di 7sic7 ,giovanni in ,duomo4 ,archivio detto4 ,libro detto4 ,debit e ,credit a #gd4 #fe #adhe4 #be ,aprile4 ,bartolomeo di ,domenico scarpellino di avere a di xxv ,aprile ,l4 #gg1 soldi #ah1 den4 #f4 sonno per ,ba44 787 otto quadri di fregio del ,lione e per ,ba44 787 sete e cinque otavi di fregio 444 intorno a la storia derode ruando fu chacciato4--,archivio detto4 ,libro detto4 a #aj4 #ff #adhe4 ,giusto ,gio4 e ,michele di ,ludovicho nostri mugnari dieno avere--,eprima per vettura di libri sette millia ottociento settanta di marmi neri rechati da chasciano de le donne per la storia dinanzi ala chapella si fa per san giovanni e raconciare la storia del onperadore ,l #ae1 #ad4 ,archivio detto4 ,libro ,nero dal #adfa-aecc a #ahb4 #fg ,all these fragments may still be seen there4 #fh ,several discoveries of this kind were made by the restorers of the floor2 showing that work1 by even such great artists as ,giovanni ,pisano1 was destroyed1 and the marble used again in this way4 #fi ,in the churches of ,s4 ,agostino and of ,sta4 ,maria del ,concezione dei ,servi4 ,the other two are 7a7 in the ,pinacoteca at ,naples 7,no4 #ca71 and 7b7 in the ,public ,gallery at ,aix-en-,provence 7,no4 #ach74 7,see ,b4 ,berenson1 ,central ,italian ,painters47 #gj ,sismondi1 ,histoire des ,republiques ,italiennes du ,moyen ,age1 vol4 iv41 chap4 #hh4 #ga ,mr4 ,berenson with1 ,i think1 great reason1 suggests the view that #adga should be #adia4 7,central ,italian ,painters1 ,index47 #gb ,the reader will find it of considerable interest to examine and compare the scenic accessories of this design1 with those of the pictures mentioned above4 ,it is curiously noticeable how many putti are introduced into the decorations1 as if in symbolical contrast with the gruesome massacre of the helpless human infants beneath4 #gc ,compare the girdle of the ,samian ,sibyl with the knee and shoulder caps of the soldiers in this design4 #gd #adha4 ,historia ,innocentium pavimento ,edis ,majoris ,albertus ,aringherius ,edituus sterni fecit hoc anno4 ,tizio1 ,hist4 ,sen4 ad an4 #adha4 ,vol4 vi4 p4 #eb4 #ge #adha4 #d ,giugno4 ,francesco di ,niccolaio e nanni di piero di nanni--deno avere a d iiij di ,giugno lire trentaquattro sol otto per ,ba41 quaranta tre di marmi bianchi bigi e gialli misurati di piu sorte a ba2 quadro--el quale po per lo pavimento de la storia deglinnocenti4 ,domenico d'antonio di ,lando sensale di avere a di #h di ,maggio1 ,l4 undici per una balla di pecie navale compramo da ,lui--per impeciare la storia deglinnocenti si fa nuovamente in ,duomo4 ,archivio detto4 ,libro ,giallo delle tre ,rose1 a #bhc e #bib4 #gf ,faluschi ,,ms4 notes1 a4 #bg4 #gg ,borghesi and ,faluschi1 ,,mss4 ,lists of ,operaii4 #gh #adgc4 ,historia ,judith cum ,betulia ab ,olopherne obsideretur in pavimento ,ecclesie majoris constrata est4 ,tizio1 ,hist4 ,sen41 vol4 iv41 ad an4 #gi #adgc4 ,urbano di ,pietro ,giovanni di ,stefano e ,bartolomeo di ,domenico ,calabrone e ,francesco di ,bartolomeo scarpellini fecero il naspatoio di marmo intorno la storia di ,giuditta4 ,archivio detto4 ,libro delle due ,rose1 a4 #bhc4 #hj ,la ,guida ,artistica1 p4 #bf4 #ha ,these two figures recall the work of ,francesco di ,giorgio4 ,compare pictures by him in the ,church of ,s4 ,domenico and the ,siena ,academy4 #hb #adbd4 ,bartolommeus interea ,johannis ,cecchi ,ex ,usinina oriundus majoris templi ,edituus historiam marmoream ab ,altare ,ansani ad ,victoris aram in pavimento majoris ,edis sterni fecit4 ,in ejus medio e regione majoris ,are cis scalas historia cernitur ,david cum cantoribus circulo conventis3 a dextris vero ,sanson1 precedente ,mos2 a sinistris ,judas ,macabeus cum ,josue quinque ,reges ulciscente3 ,tizio1 ,hist4 ,sen41 vol4 iv41 p4 #bjj4 #hc ,mil4 ,doc41 vol4 i41 p4 #agh1 and vol4 ii41 p4 #bch4 #hd #adbf4 ,domenico di ,francesco1 cartaio de' avere--per x quaderni di fogli reagli1 ebe ,pauolo nostro per la disegniatura de la storia di ,giesu4 ,archivio detto4 ,memoriale di ,antonio di ,savio1 ,camarlingo1 dal #adbf al #adbg1 a4 #ci4 #he ,sulla ,storia dell' ,arte ,toscana1 ,scritti ,vari1 p4 #hd4 #hf ,p4 #hd4 #hg ,archivio detto4 ,lib4 ,delib4 ad annum4 ,e4 ,v4 a #hi 7on the back74 #hh ,borghesi and ,faluschi ,,mss4 ,lists of ,operaii4 #hi #addd4 ,giugno4 ,miss3 l'operaio et consiglieri convocati--deliberarono che miss3 ,gio 7,borghesi7 operaio che lui possa et facei fare uno pavimento in ,duomo verso ,santo ,sano come allui parr1 e piacer4 ,archivio detto4 ,libro ,e4 #e4 ,delib3 a #gf 7on the back74 #ij ,the following notice1 perhaps1 also refers to the same work3 #addh4 #f4 ,agosto4 ,similmente rimisero nel decto ,miss3 l'operaio che lui possa fare nella chiesa cathedrale lo spazo che alato al coro di verso la ,cappella di ,s4 ,bastiano di marmo con quegli intagli1 compassi1 figure et ornamenti che li parr per honore di ,dio et exaltatione dela decta chiesa4 ,archivio detto4 ,libro detto4 a #ih 7on the back74 #ia ,archivio detto4 ,libro di ,documenti ,artistici1 ,no4 #df4 #ib #adbc1 di ,dicembre4 ,bastiano di ,chorso1 maestro di pietra da ,firenze s'aloch a di ,,xvii di ,deciembre di fare braccia cinquanta1 o per quello he 7che7 a me par1 del fregio1 il quale si die fare lo spazo nel ,duomo a pi le schalelle de l'atare magiore3 et io gli deba dare marmo e chola e ogni altra chosa2 e lui lavoralo a ogni sua spesa4 ,e die avere del braccio steso1 lire cinque1 sol3 quindici e dielo fare presto sanza metare in mezo altro lavorio4 ,archivio detto4 ,memoriale di messere ,bartolommeo ,cecchi1 operaio del ,duomo dal #adbc al #adbg a #b4 #ic ,archivio detto4 ,libro ,e4 ,,iv4 ,memorie a #bd1 and ,libro ,e4 ,v4 a #ajh e #aaj 7on the back74 #id #addg1 #be ,marzo4 ,maestro ,bastiano di ,chorso1 et ,chorso suo figliuolo1 dieno avere per insino questo d #be di ,marzo3 per brac3 trenta quattro di porporele1 lire tre sol3 #b3 monta lire ,,cxxviii4 ,per brac3 trenzette di rochetti1 per lire tre el braccio3 monta lire ,,cviii4 ,per brac3 sette di fogliami1 per lire quatro el bracio3 monta lire ,,xxviii4 el quale tuto lavoro posto e murato sotto la tribuna di verso l'altare di ,santa ,chaterina4 ,archivio detto4 ,libro ,verde dal #adda al #adeg a #ahd 7on the back74 #ie 7#adjf7 #ac ,marzo4 ,marchesse d',adamo e compangni maesstri di pietra da ,como4--,e dieno avere a di ,,xiii4 di ,marzo lire centoquaranta e quali li debiamo dare per una rotta 7ruota7 nno fatto murare nello spazzo contra a la sagrestia4 ,archivio detto4 ,bastardello ,no4 #b4 del #adje a #fe4 ,mil4 ,doc41 vol4 i41 p4 #agg4 #if ,il ,pavimento del ,duomo and ,la ,guida ,artistica1 p4 #bf4 #ig ,discorso sulla ,storica ,artistica ,senese1 p4 #hd4 #ih ,la ,guida ,artistica1 p4 #bf4 #ii ,tizio1 ,hist4 ,sen41 vol4 iv41 p4 #bjj4 #ajj ,p4 #hd4 #aja ,il ,pavimento del ,duomo and ,la ,guida ,artistica1 p4 #be4 #ajb #adbd4 444 eodemque succedente tempore a destris1 citra ferreas crates1 ,imperatoris ,imago in pavimento est locata1 nec non demum ,absalonis ,historia cesarie ad quercum pendentis1 cooperante eodem ,edituo et hisdem lapidum cesoribus4--,tizio1 ,hist4 ,sen41 vol4 iv41 p4 #bjj4 #ajc #adcd1 #cj ,ottobre4 ,anco deliberarono1 che conciosiacosache uno maestro ,domenicho dipentore habbi certa statua ossivero disegno1 il quale simile alla faccia de la ,cesarea maest2 et assai farebbe honore averlo nella mani della decta opera2 potendosi avere condecente prezzo1 che al dto ,camarlengo sia lecito senza suo pregivditio1 o danno et co' denari de la decta opera spendervi fino alla quantita di ,l4 #af4 ,archivio detto4 ,delib4 ,e4 #e1 a4 #d 7on the back74 ,domenico di ,bartolo dipentore de' avere lire sedici1 i quagli sono per uno disegnio fecie per deliberazione di messer ,bartolomeio de lo ,imperatore per una storia si fa in ,duomo4 ,archivio detto4 ,memoriale del ,camarlingo ,gio3 ,matteio di ,salvi4 ad annum a #ac4 #ajd #adcd1 #b di ,dicembre4 ,le spese dell' ,uopara ,santa ,maria di ,duomo4 ,e die dare a d ij di ,dicembre lire tre1 soldi dieci pagamo a ,jacomo d',antonio manovale per vii huopare aito quando si muro lo spazzo de l',imperatore4 ,archivio detto4 ,libro detto1 a #ae 7on the back7 ,no4 #i4 #aje ,borghesi and ,faluschi ,,mss4 ,lists of ,operaii4 ,it appears from these curious side-lights that the ,operaio of the ,duomo was bound by the regulations of the period to be a celibate1 or at least to have no children2 but we learn1 from further study of them1 that the regulations varied considerably from time to time4 #ajf ,cf4 ,aldobrandini ,chronicle4 #ajg ,delib4 del ,consistoro ad annum4 #ajh ,archivio detto4 ,libro ,nero dal #adfa-aecc a #ahb4 #aji ,archivio detto4 ,libro ,verde dal #adda-eg4 #aaj ,tizio1 ,hist4 ,sen41 vol4 iv41 p4 #bjj4 #aaa #adha-b1 #ah ,gennaio4 ,bastiano di ,francesco scharpellino die dare a di xviii di giennaio ,l ciento--contanti in sua manoli quali se gli prestano per parte de la storia e pavimento attolto affare in duomo di marmo rincontro al crocifisso4-- e die dare a di vi ,aprile #adhb ,l4 ottanta per parte del quadro overo pavimento come sopra4 ,archivio detto4 ,libro ,giallo de' tre ,rose a #cdh4 #adhd-e4 #ab ,gennaio4 ,bastiano di ,francesco scharpellino et dipentore di avere a d xii ,giennaio lire duo-milatrecientosettantacinque sol41 sonno per la storia overo pavimento del ,re ,jefte fatta in ,duomo dinanzi all'altare del ,crocifisso4 ,archivio detto4 ,libro ,rosso d'un ,leone a #ajg 7on the back74 #aab #adhd4 ,bastiano predetto 7di franco7 fa il festone1 e i serafini intorno al razo1 o raggio della ,tribuna4 ,archivio detto4 ,libro d'un ,lione a #adj4 #aac ,from a ,,ms4 dated #afbe in the ,archivio ,chisiano in ,rome4 ,see ,faluschi ,,mss41 p4 #dh4 8,la porta sinistra quale del ,perdono1 che stava serrata pel ,giubileo1 poi solamente si apriva1 e scritto sopra4 8,annus centenus ,romae semper est jubilenus4 ,crimina laxantur cui poenitet ista donantur4 ,haec declaravit ,bonifatius et roboravit40 #aad ,from an old description of the ,duomo among the notes of ,abate ,faluschi1 pp4 #g and #aa 7on the back74 #aae #adge4 ,aprile #bd4 ,e a d #bd d',aprile1 #adge libre diciotto di pecie si di a maestro ,antonio capomaestro di buttiga nostra per inpeciare la storia del l'ettade4 ,archivio detto4 ,libro delle due ,rose a #che4 #adgf4 ,interea ,albertus ,aringhierius ,edituus etates septem hominum pavimento ,edis majoris ad portam ,indulgentie intus sterni fecit4 ,tizio1 ,hist4 ,sen41 vol4 vi4 #d4 #aaf #adge4 ,bartalino di ,massa da ,chararra die avere a di v di ,settembre #adge libre cento vinti--sonno per una colonna di libre quatro 7cento7 quaranta due per ,l #dj--;e per due cornici ,l #dj--le quali avemo per finire la cappella di sto ansano--e ,l #dj per pezi--di marmo per la fare el fregio del cervio per lo spazzo de la porta del perdono a soldi ,,xx ,p--montano ,l ,,cxx4 ,archivio detto4 ,libro detto4 dal #adff al #adgf a #cih4 #adif #i ,settembre4 ,bartolino da ,massa da ,carrara die avere ,l ciento--trenta--sonno per cavatura degli infrascritti marmi ci anno cavati alla marmiera nostra di ,gallena cio in prima4 ,omissis--sei pezzi di fregio per lo spazo dela porta del perdono4 ,archivio detto4 ,libro ,giallo delle tre ,rose a4 #eg4 #aag ,see ,libri dell' ,opera1 ,giornale ,cecconi4 ,g4 ,anno1 #aghj1 p4 #gg4 ,also ,la ,guida ,artistica1 p4 #bd4 #aah ,descrizione del ,pavimento1 by ,alfonso ,landi3 ,della ,valle1 ,lettere ,senesi1 vol4 iii4 ,faluschi ,,mss41 p4 #bc4 ,archivio detto4 ,libro ,giallo dell' ,assunta a #db1 #hi e #aee4 #aai #aebg1 #ca ,agosto4 ,mo4 ,giovanto4 detto el sodoma dipentore de dare a d xxxi d' agosto lire quatordici per prezo del disegnio aveva fatto per la storia di 444 ,archivio detto4 ,libro di tre ,angeli dal #aeba al #aebi a #dfe4 ,mil4 ,,ms4 notes1 p4 #cc4 #abj ,milanesi ,discorso sulla ,storia ,artistica ,senese4 ,archivio detto4 ,libro ,giallo dell' ,assunta a #dd e a #agg4 ,landi and ,faluschi differ slightly as to details and sums of money1 but agree in the general facts4 ,i have preferred to take ,landi's version1 as ,i am inclined to think that ,faluschi's information is in the main drawn from the earlier writer2 who states that whereas ,bernardino di ,jacomo executed the ,sacrifice of ,abraham and the smaller stories1 ,pellegrino di ,pietro did the frieze1 which happens to be the finer work4 #aba #adbc4 #d ,giugno4 ,e fatte sette-ciento mandorle1 a ragione di vinte lire el centonaio3 e pi feci ventitre braccia e mezzo di braccia alla distesa di marmo rosso digrossato come viene di petriera1 del quale adopar maestro ,domenicho nella storia derre 7del re7 ,davitte4 ,archivio detto4 ,libro di ,documenti ,artistici1 ,no4 #df4 #abb ,operaio from #aebd-aebi4 ,see ,faluschi ,,ms4 ,lists of ,operaii4 #abc ,the large original cartoons1 preserved by the ,spannoechi family up to ,august #cast1 #ahja1 were at that date generously presented by them to the ,picture ,gallery of the ,accademia delle ,belle ,arti in ,siena1 where they may still be seen4 ,they have suffered sadly from time and damp1 but they show the artist's skill as a draughtsman far better than the reproductions on the ,pavement1 as it now exists4 #abd ,from ,landi we learn that ,baldassare's stipend while ,capo-maestro was #cj scudi per annum4 #abe ,archivio detto4 ,libro ,giallo dell' ,assunta a #e1 #ab1 #gf1 #gi1 #hd e #ajh4 #abf ,discorso sulla ,storia ,artistica ,senese1 p4 #hg4 #abg ,archivio detto4 ,libro di tre ,angeli4 ,debit e ,credit a #cda4 #abh ,the cartoon for this scene also still exists in the ,accademia delle ,belle ,arti4 #abi #aeah-ai4 #aa di ,marzo4 ,domenicho di ,jachomo di ,pacie dipentore de' dare a di xi di ,marzo lire quaranta tre1 soldi dieci1 ebe contanti in ducati sei d' oro1 li quali se li devono per parte del disengnio e chartone fatto della storia che va in ,duomo sotto la pupola 7cupola74 #aebj4 #c di ,novembre4 ,e a di iii di ,novembre1 #aebj1 lire setantaebe conntanti - - se li danno per chonto delle storie dipegnie4 ,archivio detto4 ,libro ,verde di #b ,agnoli dal #aeaa al #aebj a #dgg4 #aeba4 #c di ,aprile4 ,giovanni d',alixandro cartaio - - de' avere fino a questo di iii ,aprile #aeba lire #ci - - sonno e per fogli reali date a ,mecharino per le storie e fogli comuni4 ,archivio e ,libro detto a #daa4 #aeba4 #f di ,settembre4 ,domenico di ,jacomo di ,pacie dipentore de' avere fino a questo d vi di ,settembre lire dugiento vintiquattro 7,duc4 trentadue87 - - sonno per sue fadighe d' avere lui disegniattoci1 e dipintoci tre storie d',elia e del re ,agabe in tre tondi sotto la pupola di ,duomo4 ,archivio detto4 ,libro di tre ,agnoli a #id e a #adg4 #aebd4 #ah di ,giugno4 ,domenicho di ,jachomo di ,pacie dipentore de' avere fino a questo di xviii di ,giugno #aebd lire otantaquatro1 che sonno per le sue fadige 7sic7 d' avere disegniata e dipenta 7sic7 l' ultimo tondo de la storia de re ,agabe e d',elia quando vanno a fare sacrifizio1 e due mandorle con certe figure1 e disegniato uno fregio4 ,archivio e ,libro detti dal #aeba al #aebi a #adg4 #acj ,il ,pavimento del ,duomo di ,siena e il ,professor ,alessandro ,franchi1 by ,luigi ,mussini4 7,florence1 ,le ,monnier1 #ahhj74 #aca ,miscellanea ,storica ,senese4 ,gennaio-,febbraio1 #ahih4 #acb #ad ,agosto #aefb4 ,el d1 settantacinque sol4--pagati a ,giovan ,battista nostro per detto di messer ,azzolino ,cerretani nostro dignissimo ,operaio1 per li cartoni et disegni fatti di #d storie d',elia in #d mandorle fatte in ,duomo stimate per mo4 ,bernardino ,scarpellino a esser piacere4 ,archivio detto4 ,libro d',entrata ed ,uscita #aefb n4 #aca a4 #dc 7on the back74 #acc 444 8si vedono ancora1 per chi vuole1 alcune mandorle per lui disegnate nel nobilissimo pavimento di marmi del nostro ,duomo1 presso alle opere grandi del gran ,mecarino allogate40 ,scipione ,bargagli4 ,le ,imprese4 7,venezia1 #aeid47 #acd #aefe4 #af ,ottobre4 ,ancora inteso come ,giovan ,battista ,sozzini ha tramandati certi disegni et venduti1 per quanto s'intende1 a ,tiburtio ,spannocchi1 e intendendosi che sono disegni de lo spazzo del ,duomo e apartenere a la detta ,opera1 deliberarono che li due de' ,savi1 che nominer el ,magnifico ,rettore1 che col ,magnifico ,rettore si faccino chiamare li detti ,giovan ,battista et ,tiburtio a la loro presentia1 e si domandino di tali disegni2 et quando ne trovino riferischino al ,capitolo4 ,archivio detto4 ,registro ,e4 ,x a #cb4 #ace ,these numbers correspond with those on the ,plan and the ,scheme of the ,pavement4 #acf ,faluschi ,,mss41 p4 #be 7on the back74 #acg #adei4 #ai d',aprile4 8,anne dati a di xviiii d',aprile #adei lire quarantasei1 e qual den3 sonno per la ,storia dei due ciechi che stanno in terra a piei del ,coro di ,duomo1 che sonno a misura braccia xi misurate per detto dell' operaio co 7sic7 ,benedetto di ,bigio 7sic3 ,biagio7 di ,ruberto hoperaio1 a ragione di lire iiii el braccio2 la quale storia fu fatta al tempo di misser ,christofano ,filigi hoparaio stato40 ,archivio detto4 ,libro ,rosso d'una ,stella a #afb 7on the back74 #ach ,at this date the ,operaii were elected annually4 ,see ,borghesi and ,faluschi ,,mss4 ,lists of ,operaii4 #aci #acgd-e1 #ag ,marzo4 ,si fe lo spazzo di ,duomo delle due figure delle travi nell' occhio2 tu mivi la una brusca e non mivi la tua travi4 7,cron3 del ,bisdomini74 ,borghesi ,,ms4 #adj #adcc4 ,mo ,domenicho di ,niccholo ,mo di lengname die avere lire treciento cinquanta sette per una istoria a fatto nelo spazzo del choro da legio in gi quella di choloro trovaro incanto1 il quale salogo da ,miss4 ,bartolomeio di giovanni ciechi operaio di duomo per ,l #g el braccio quadro fu misurato il detto lavoro per maestro chola di nanni1 e matteio di domenicho maestri dell'uopera al quale fu tutto di marmo1 apare al memor3 di pavolo4 ,archivio detto4 ,libro ,giallo dal #adbj al #addd a #bfg 7on the back74 #ada ,this sentence is ambiguous1 as it is most difficult to understand for certain1 what is really meant by incanto3 but ,i am assured1 that it should in modern ,italian run thus3 quella di coloro che trovarano in canto 7cantando74 #adb ,the cost of these works was #hf1gci lire #ce c4 #adc ,between the years #ahfd-ahfi alone1 no less a sum than #dj1jjj lire from this fund was expended on restoration4 #add ,il ,pavimento del ,duomo di ,siena4 ,the learned father's list is not absolutely to be depended upon1 as1 through inadvertence1 he has made several mistakes in names1 thereby causing confusion4 #ade ,miscellanea ,storica ,senese4 ,gennaio-,febbraio1 #ahih4 #adf ,in the course of this chapter and in my ,scheme1 ,i have added four more names4 ,they are scarcely entitled to rank among the ,duomo ,pavement masters1 but1 as they are necessary to the full evolution of its history1 ,i have decided to admit them into the list4 #adg ,nuovi ,documenti1 p4 #c4 #adh ,mil4 ,doc41 vol4 i41 p4 #ci4 #adi #ah ,luglio1 #adaf4 ,archivio delle ,riformagione di ,siena4 ,deliberazioni del ,concistoro1 ad annum4 #aej ,in #adjg1 not in #adjj1 as ,padre della ,valle states4 ,archivio dell' ,opera del ,duomo d',orvieto4 ,libro di ,riformanze ad annum4 #aea ,rogiti di ,ser ,giovanni di ,daniello4 #bg ,maggio1 #adfc4 #aeb ,mil4 ,doc41 vol4 i41 p4 #abf4 ,the compiler warns us that the original documents are lost1 and that his transcription is from a faulty copy of the seventeenth century1 preserved in the ,biblioteca ,pubblica of ,siena4 #aec ,the making of this design was once attributed to ,duccio4 ,archivio dell' ,opera del ,duomo di ,siena4 ,libro dei ,documenti ,artistici1 ,no4 #dj4 #aed ,archivio delle ,riformagioni di ,siena4 ,deliber3 del ,gran ,consiglio1 ,t4 #bab4 #aee ,mil4 ,doc41 vol4 ii41 p4 #gb4 #aef ,romagnuoli ,,ms4 7,biblioteca ,communale di ,siena71 vol4 iv41 p4 #ddd4 #aeg ,della ,valle1 ,lettere ,senesi1 vol4 ii4 #aig1 #addd4 ,in the ,archivio di ,stato of ,siena there is a contract to purchase a piece of land by the said ,antonia1 in which she is described as 8,antonia 444 vedova olim magistri dmci ,bartali de ,asciano pictoris districtus ,senensis4 ,archivio di ,stato4 ,pergam4 d4 convento di ,s4 ,maria degli ,angeli4 ,nr4 #hh4 #ah ,feb41 #addf4 ,index ,x4 ,see also ,h4 ,j4 ,wagner1 ,domenico di ,bartolo ,ghezzi1 etc4 #aeh ,archivio dello ,spedale di ,sta4 ,maria della ,scala di ,siena4 ,libro di conti correnti1 segnato a carte #ii4 #aei ,this work was eventually completed by his brothers ,antonio and ,giovanni4 ,cf4 ,nuovi ,documenti1 p4 #afc4 #afj #adda1 dal ,gennaio al ,ottobre4 ,archivio del ,duomo d' ,orvieto4 ,libro di ,riformanze di detto anno4 ,he is called there 8,,petrus ,,de ,,senis10 and 8,,petrus ,,herminelle40 #afa ,see ,luigi ,fumi1 ,il ,duomo d',orvieto e i suoi ,restauri1 pp4 #bgg and #bid-big4 7,rome1 ,la ,societ ,laziale ,tipografico-,editrice47 #afb #addd4 ,febbraio #aj4 ,archivio de' ,contratti in ,siena4 ,concistoro ,scritture ad annum4 #afc #addd4 ,agosto #bf4 ,archivio della ,fabbrica del ,duomo d',orvieto4 ,libro di ,riformanze ad annum4 #afd #addd4 ,archivio dell' ,opera del ,duomo di ,siena4 ,libro delle ,deliberazioni segnato ,e #d4 a #aj 7on the back74 #afe #adde4 ,aprile #d4 ,archivio detto4 ,pergamena1 ,no4 #aecb4 #adeb4 ,maggio #bg4 ,archivio e ,libro detti4 a4 #aag4 ,this chapel we learn was not completed until #adeb1 and he ought to have paid a fine of fifty florins for such delay4 ,he was1 however1 absolved from the penalty4 #aff ,guida ,artistica1 p4 #ef4 #afg ,discorso sulla ,storia ,artistica ,senese1 p4 #ec4 #afh ,biblioteca ,pubblica di ,siena4 ,libro del ,maestro della ,camera dal #adec al #adfd a #cgf4 #afi ,archivio delle ,riformagioni di ,siena4 ,revisioni delle ,regioni de' ,camarlinghi e ,uffiziali del ,commune1 vol4 viii4 a #dac e seg4 #agj #adea4 ,settembre #ad4 ,archivio ,della ,fabbrica del ,duomo d',orvieto4 ,riformanze ad annum4 #aga ,we read that he kept two servants and horses for which the establishment allowed him 8,libr4 quatuordecim1 sol4 decem40 ,archivio detto4 ,libro d',uscita del ,camarlingo1 ad annum4 #agb #adeb ,aprile #g4 ,archivio del ,comune d',orvieto4 ,carteggio ad annum4 ,cf4 ,nuovi ,documenti1 p4 #afi4 #agc ,mil4 ,doc41 vol4 ii4 p4 #cji4 #agd #adfc1 #a ,giugno4 ,archivio delle ,riformagioni di ,siena4 ,copialettere filza #he4 ,it is in this document that he is spoken of as ,de ,ptholomeis4 #age #adhj4 ,archivio detto4 ,libro di ,no4 #ajg del ,gradino xxxiv4 #agf #adea1 ,ottobre #ai4 ,archivio dell' ,opera del ,duomo di ,siena4 ,libro di ,memorie segnato ,e4 iv41 p4 #bi1 e seg4 ,also ,archivio detto1 ,filza de' ,ricordi1 e memorie4 ,bastardello d' ,andrea di ,bernab dal #adej al #adfg a #bc4 #agg ,we do not hear that this scheme was ever carried out4 ,probably not4 #agh #adig-ih1 ,marzo #f4 ,archivio de' ,contratti di ,siena4 ,rogiti di ,ser ,pietro dall' ,oca4 ,filza di ,sentenza1 ,lodi e ,compromessi dal #adhd al #adii4 #agi ,in the ,churches of ,s4 ,domenico1 ,s4 ,agostino1 ,sta4 ,maria delle ,neve1 and ,sta4 ,maria dei ,servi1 are fine pictures by him1 still in situ1 and a magnificent ,assumption of the ,virgin once in the ,chapel of the ,monastery of ,s4 ,eugenio1 outside the ,porta ,s4 ,marco1 is now in the ,national ,gallery1 in ,london4 #ahj #adff4 ,agosto #c4 ,archivio de' ,contratti di ,siena4 ,filza di ,ser ,minoccio di ,gio4 di ,minoccio4 #aha ,this head was re-made in its present shape in the eighteenth century1 at the expense of ,conte ,marcello ,biringucci4 ,mil4 ,doc41 vol4 ii41 p4 #cce4 #ahb #adfg-fh4 ,marzo #d4 ,archivio delle ,riformagioni di ,siena4 ,deliberazioni del ,concistoro ad annum4 #ahc #adhg4 ,luglio #ag4 ,archivio del' ,opera del ,duomo di ,siena4 ,libro dei ,contratti segnato ,e #h4 a #af4 #ahd ,mil4 ,doc41 vol4 ii1 p4 #dfd1 vol4 iii41 p4 #cjf4 ,milanesi states that ,tizio is the authority for this fact4 #ahe ,archivio de' ,contratti di ,siena4 ,filza di ser ,francesco ,martini4 #ahf ,mil4 ,doc41 vol4 iii41 p4 #cf4 #ahg ,archivio dell' ,opera del ,duomo di ,siena4 ,libro ,rosso d'un ,leone ad annum a #ce4 #ahh #adhc-hd4 ,marzo #aj4 ,archivio de' ,contratti di ,siena4 ,rogiti di ser ,giovanni di ,daniello4 ,it is curious that the words di ,maestro ,marco should be used in both documents to designate ,lucillo1 as if to mark that he was not a relation4 ,milanesi1 however1 in his ,index1 calls him ,vito's brother4 #ahi #adhf-hg4 ,archivio delle ,riformagioni di ,siena4 ,copialettere1 ,no4 ,,iii4 #aij #adhb4 ,archivio dell' ,opera del ,duomo di ,siena4 ,libro d'un ,leone a #cd 7on the back74 #aia ,nuovi ,documenti1 p4 #cia4 ,cf4 ,document dated #aej 444 ,archivio ,piccolomineo1 where1 by the way1 he is called 8,bastianino di ,francesco40 #aib ,this tomb is by some authorities considered not to be the work of ,tino himself1 but of his pupil ,gano4 #aic #adgg4 #d ,giugno4 ,archivio de' ,contratti di ,siena4 ,carte di ,ser ,giovanni ,cecchini4 #aid #adia4 ,archivio di ,stato in ,siena4 ,denunzie1 ,terzo di ,citt4 ,compagnia di ,valle ,piatta4 #aie #adhb4 ,archivio dell' ,opera del ,duomo4 ,libro ,giallo delle tre ,rose a #chc4 #aif #adhb4 ,dicembre #ah4 ,archivio detto4 ,libro di un ,leone a #ai1 e a #ah 7on the back74 #aig ,in the second chapel to the right of the ,high ,altar1 in the ,church of ,s4 ,domenico 7,bellanti ,chapel1 dedicated to ,,ss4 ,john and ,anthony71 a large panel1 with a lunette above it1 by him1 is still to be seen in its original place4 ,for this picture he received #de florins4 #adhc4 ,novembre #ag4 ,archivio del ,patromonio ,ecclesiastico4 ,carte di ,s4 ,domenico4 ,libro di ,memorie1 ,a #ah a #ae4 #aih ,giovanni di ,neroccio1 apparently another son1 signed the ,painters' ,brief in #aecc4 ,see ,mil4 ,doc41 vol4 i41 p4 #eb4 #aii ,dal ,febbraio #adfe al ,maggio #adgd4 ,item3 lire #ca1 sol3 o ,neroccio dipentore per parte d'una sancta ,chaterina fatto fare di legniame per stare su l'altare4 ,archivio de' ,contratti di ,siena4 ,revisioni delle ,rogioni de' ,camarlinghi e ,uffiziali del ,commune1 vol4 viii41 a #dac e seg4 #bjj #adhd-e4 ,febbraio #d4 ,archivio detto4 ,rogiti di ,ser ,giovanni di ,daniello4 #bja #adhg-hh4 ,febbraio #e4 ,archivio dell' ,opera del ,duomo4 ,libro ,rosso d'un ,leone a #bdb4 #aejb4 ,agosto #ba4 ,archivio e ,libro detti1 a #bdb4 #bjb ,mil4 ,doc41 vol4 iii41 pp4 #ch-dj4 #bjc ,of noble origin1 a painter1 and a writer of ,comedies and ,pastoral ,eclogues4 ,he also had charge of the candles for the service of the ,duomo1 and belonged to the ,accademia dei ,rozzi1 where he received the nickname of ,mescolino4 #bjd ,mil4 ,doc41 vol4 iii41 pp4 #dj-db4 #bje ,ibid41 vol4 ii41 p4 #dah4 #bjf ,le ,tavole della ,biccherna1 e della ,gabella della ,repubblica di ,siena1 by ,luigi ,mussini1 p4 #aa4 7,siena1 ,bargellini1 #ahgg47 #bjg ,said to have been so called on account of his peaceful disposition4 #bjh ,nuovi ,documenti1 p4 #dbb-dbc4 #bji ,mil4 ,doc41 vol4 iii41 p4 #ff4 #baj ,mil4 ,doc41 vol4 iii41 p4 #gj-ga4 #baa ,romagnuoli ,,ms4 ,life of ,gio4 ,a4 ,bazzi 7,il ,sodoma71 ,biblioteca ,pubblica di ,siena4 ,the writer claims to have seen documents proving this among the ,archives of the ,patrimonio ,ecclesiastico1 but ,i find no mention of it elsewhere4 #bab ,for these works he received #gj scudi in gold4 ,milanesi1 ,notes on ,vasari's ,vite1 etc41 vol4 v41 p4 #fde4 #bac ,letter from ,accursio ,baldi to ,scipione ,cibo4 ,biblioteca ,pubblica di ,siena4 ,cod4 ,d4 vii4 #d4 #bad ,album della ,storia ,patria4 ,bozzetti ,repubblicani ,senesi1 vol4 i41 p4 #fcg4 #bae ,mil4 ,doc41 vol4 iii41 p4 #beb4 #baf ,nuovi ,documenti1 p4 #cfc4 #bag ,mil4 ,doc41 vol4 iii41 p4 #cag4 #bah ,signor ,armand 7,les ,medailleurs ,italiens des quinzime et seizime ,sicles4 ,paris4 ,plon1 #ahgi4 in-#h71 attributes to him the medallion of ,cammillo ,agrippa1 ,milanese architect and engineer1 who lived during the ,pontificate of ,pope ,gregory ,,xiii4 ,milanesi1 ,notes on ,vasari's ,vite1 etc41 vol4 v41 p4 #cia4 #bai ,mil4 ,doc41 vol4 iii41 p4 #aib4 #bbj ,ibid41 vol4 iii41 p4 #ahe4 #bba ,in the ,cathedral of the ,,ss4 ,annunziata at ,otranto1 there is a celebrated work of this kind1 dating from #aafc1 with a number of mythical and historical figures1 ,signs of the ,zodiac1 etc41 upon it4 #bbb ,vacchetta vecchia di entrate et uscite dal #adga all #adhd4 ,archivio dell' ,opera di ,sta4 ,croce4 7,miscellaneo ,,ms4 di n4 #aedi1 p4 #afh1 e seg4 nella ,biblioteca ,pubbl4 di ,lucca47 #bbc ,e4 ,ridolfi4 ,l',arte in ,lucca1 studiata nella sua ,cattedrale4 7,lucca1 #ahhb71 p4 #afc1 #afd4 #bbd ,the final payment is dated #ith ,june1 #adgg4 #bbe ,mil4 ,doc41 vol4 i41 p4 #ec4 ,the compiler in this note promises to give more particulars about him further on1 but does not do so2 and ,i can find nothing more elsewhere4 #bbf ,archivio de' ,contratti4 ,rogiti di ,ser ,filiziano ,nerini4 ,according to ,padre de ,angelis 7,vita del ,beato ,pietro ,pettinaio1 p4 #abd7 the artist received #ijj florins1 of four lire each1 for the pavement and altar decorations2 and his designs on two sheets of paper1 one green and the other plain1 signed with his name and the date #aejd1 are to be found in vol4 #fi1 in the ,archives of the ,piccolomini family4 #bbg ,according to ,padre ,micheli 7,la ,guida ,artistica1 p4 #aca7 these ,virtues were executed from designs by ,pacchiarotto1 but ,i find no authority for that assertion1 which seems to contradict the statement made by ,padre de ,angelis above4 #bbh ,v4 ,lusini4 ,storia della ,basilica di ,s4 ,francesco a ,siena1 pp4 #adc1 and #bhb4 #bbi ,mil4 ,doc41 vol4 iii41 p4 #gg4 #bcj ,faluschi ,,mss4 ,chiese ,senesi1 ,a-,f1 pp4 #aed 7on the back7 and #adh 7on the back74 #bca ,this border of waterfowl may possibly allude to the ,contrada of the ,oca 7the ,goose7 of which ,contrada ,sta4 ,caterina was the especial ,patroness1 she having lived in their ward and their chapel being in her former home4 ,,note4--,the tomb of the ,cennini family1 before the ,high ,altar in ,s4 ,francesco is a degraded seventeenth-century specimen of this kind of work1 but it is so debased in taste1 and so injured by time1 that ,i hardly like drawing attention to it4 #bcb ,an instance of this debased1 but by some admired1 artifice may be seen in the church of ,s4 ,giorgio in ,siena1 on the memorial slab to the artist1 ,francesco ,vanni1 executed in #afef1 by his son1 ,michel ,angelo4 #bcc #adgf1 #i ,settembre4 ,archivio dell' ,opera del ,duomo4 ,libro ,giallo delle tre ,rose a #eg4 #bcd #adhe ,archivio detto4 ,libro ,nero dal #adfa-aecc a #ahb4 #bce #adhb4 ,archivio detto4 ,libro d'un ,leone a #cd 7on the back74 #bcf ,see ,charles ,e4 ,norton4 ,church ,building in the ,middle ,ages1 p4 #agf4 ,,index ,abraham's ,sacrifice1 #hh4 ,absalom1 the ,story of1 #aj1 #gg1 #gi1 #hj1 #aea4 ,adamo1 ,marchesse d'1 #g1 #gd1 #ajh4 ,agostino1 ,guasparre d'1 #ab1 #ai1 #aag4 ,alexander ,,iii4 7,bandinelli71 ,pope1 #ai4 ,alexander ,,vii4 7,chigi71 ,pope1 #hc4 ,amidei1 ,carlo1 #ab1 #fc1 #fg1 #hg1 #ih1 #adb4 ,antonio1 ,bernardino d'1 #ef1 #acd4 ,antonio1 ,francesco di ,ser1 #aje4 ,antonio1 ,giacomo d'1 #gh1 #aad4 ,aringhieri1 ,alberto1 #aj1 #bc1 #be1 #ca1 #ec4 ,badges of ,siena and the ,confederate ,cities1 #bc1 #bd4 ,bambagini ,galletti1 ,pietro1 #ajb4 ,bartoli1 ,matteo di ,giovanni1 #g1 #aa1 #de1 #df1 #ei1 #fj1 #fa1 #fb1 #fd1 #fe1 #abb1 #add1 #aea4 ,bartolo1 ,matteo di1 #aje4 ,bartolommeo1 ,francesco di1 #fe1 #abe1 #adj4 ,bastiano1 ,corso di1 #ab1 #ai1 #bj1 #aag4 ,bazzi1 ,giovanni ,antonio 7,sodoma71 #ij4 ,beccafumi1 ,domenico 7,mecarino71 #ab1 #ab1 #hi et seq41 #ajd1 #ace1 et seq41 #aeb4 ,benzi ,family1 the1 #adg1 #adh4 ,bethulia1 ,relief of1 #fc et seq4 ,betti1 ,bernardino 7,pinturicchio71 #aj1 #aa1 #bc1 #be1 #bg1 #bh1 #ajd1 #acd1 #aeb4 ,biagio1 ,benedetto di1 #ajj4 ,biagio1 ,giuliano di1 #ce1 #dd1 #abe4 ,borghesi1 ,giovanni di ,pietro ,ghezzi1 #af1 #ga1 #ha4 ,brunaccio1 ,antonio di1 #ajd4 ,carbone1 ,cristofano di1 #ic1 #ada4 ,cecchi1 ,bartolommeo1 #fi1 #gh1 #hj1 #ia4 ,cecco1 ,luca di1 #g1 #ajg4 ,children of ,israel seeking the ,promised ,land1 #hi4 ,chivizzano1 ,jacopo di1 #add4 ,civitali1 ,matteo1 #add4 ,consecration of the ,duomo1 the1 #ai4 ,corsino1 ,nanni di1 #g1 #aje4 ,corso1 ,bastiano di1 #bj1 #gb1 #aaj4 ,cozzarelli1 ,giacomo1 #agn1 #abd1 #acc4 ,cozzarelli1 ,guidoccio1 #eb1 #abg1 #acc1 #aea4 ,david1 #ia4 ,david as ,king and ,psalmist1 #ia4 ,domenico1 ,bartolommeo di1 7,calabrone71 #ef1 #fe1 #abe4 ,domenico ,s41 ,pavement in ,chapel of ,sta4 ,caterina1 #adg4 ,duccio1 #e1 #hg4 ,eagle in ,wheel1 #be4 ,elijah1 the ,story of1 #ab1 #ie1 et seq41 #aed4 ,federighi1 ,antonio1 #aj1 #ah1 #da1 #db1 #fd1 #fe1 #hd1 #he1 #hf1 #ajj1 #aah1 #abd4 ,felice1 ,cristofano1 #ajj1 #abb4 ,filippi1 ,niccolo1 #ic1 #ada4 ,fortune1 ,allegory of1 #aa1 #be et seq4 ,fortune1 ,wheel of1 #f1 #bi et seq4 ,francesco1 ,bastiano di1 #ed1 #eh1 #hb1 #aba1 #abg1 #abi1 #aea4 ,francesco ,s41 ,pavement in ,cappella ,piccolominea1 #ade4 ,franchi1 ,prof4 ,alessandro1 #ab1 #hg1 #ajb1 #adb1 #aec-aee4 ,gallo1 ,bartolommeo di ,pietro1 #ic1 #adj4 ,gallo1 ,giacomo di ,pietro1 #ic1 #adj4 ,ghezzi1 ,domenico di ,bartolo di1 #i1 #gh1 #aab1 #aac4 ,ghino1 ,antonio di1 #add1 #ade4 ,giacomo1 ,bernardino di1 #ij1 #ic1 #if1 #adj4 ,giovanni1 ,cecco di1 #g1 #ajh4 ,giovanni1 ,giovanni di ,stefano di1 #bc1 #ci1 #fe1 #abb1 #abc1 #adg4 ,goliath1 #ia4 ,gori1 ,niccolo di ,girolamo1 #if1 #adb4 ,gregorio1 ,maestro1 #hd4 ,guarguaglia1 ,bartolommeo1 #add4 ,guasparre1 ,nastagio di1 #ah1 #ai1 #aaf4 ,guasta1 ,benvenuto di ,giovanni del1 #dd1 #ec1 #ed1 #ee1 #abg1 #abh4 ,hermes ,trismegistus1 #d1 #ba1 #bb4 ,herod1 the ,expulsion of1 #ec et seq4 ,jephthah1 the ,story of1 #ha1 #abi1 #aea4 ,joshua1 #i1 #ga4 ,joshua's ,victory over the ,amorites1 and the ,slaughter of the ,five ,kings1 #fi4 ,judas ,maccabeus1 #i1 #ge4 ,landi1 ,neroccio di ,bartolommeo1 #dh1 #ea1 #abd1 #abf1 #aca4 ,lucca1 ,cathedral pavement at1 #adc4 ,maccari1 ,leopoldo1 #ac1 #be1 #bi1 #hf1 #hg1 #ajb1 #adb1 #adf4 ,mannucci1 ,paolo1 #bh1 #ace4 ,marco1 ,sano di1 #aje4 ,marco1 ,vito di1 #ce1 #cg1 #db1 #dh1 #ef1 #aah1 #abd1 #abf1 #acb4 ,mariano 7,mandriano71 ,bartolommeo di1 #ah1 #aag4 ,mariano1 ,lorenzo di 7,marrina71 #abe1 #ade1 #adf4 ,mariano1 ,pellegrino di1 #abg4 ,marinelli1 ,giovannantonio 7,mugnaino71 #ic1 #adj4 ,martino1 ,paolo di1 #h1 #i1 #fi1 #gj1 #ga1 #ge1 #aaj1 #aaa4 ,massacre of the ,innocents1 the1 #aa1 #ei et seq41 #gc1 #aea4 ,matteo1 ,sano di1 #g1 #ajf4 ,minella1 ,pietro del1 #aj1 #gi1 #ha1 #aad1 #aea4 ,minuccio1 ,andrea di1 #g1 #bi4 ,moses1 #i1 #ge4 ,moses1 the ,story of1 #ab1 #ib1 #aci4 ,moses striking the ,rock1 #id4 ,niccolo1 ,agostino di1 #gb1 #gc1 #ib1 #aji4 ,niccolo1 ,domenico di 7del ,coro71 #h1 #i1 #ca1 #fi1 #gj1 #ga1 #gf1 #ia1 #aja1 #ajh1 #aab4 ,peruzzi1 ,baldassare1 #aa1 #hg1 #ic4 ,pharisee and the ,publican1 the1 #af1 #ag4 ,pier ,giovanni1 ,domenico di1 #if1 #adb4 ,pietro1 ,lorenzo di 7,vecchietta71 #aai1 #aca4 ,pietro1 ,pellegrino di1 #ij1 #ada4 ,pietro1 ,sano di1 #abh1 #aca1 #acc4 ,pietro1 ,urbano di1 #db1 #fd1 #fe1 #aai1 #abj1 #abd1 #abh4 ,pini1 ,matteo1 #fc1 #fg1 #hg1 #ih1 #adb4 ,porta del ,perdono1 the1 #ab1 #ai1 #gf1 #hc4 ,quarantotto1 ,cristofano di ,pietro ,paolo del1 #ef1 #acf4 ,quercia1 ,giacomo della1 #aj1 #gh1 #aad4 ,radicchi1 ,antonio1 #adb4 ,radicchi1 ,ferdinando1 #ajb4 ,radicchi1 ,giuseppe1 #hf1 #adb4 ,ruggiero1 ,luigi di 7,armellino71 #cf1 #db1 #dh1 #abd1 #abf4 ,samson slaying the ,philistines1 #gj1 #ga1 #ge1 #aaa4 ,savino1 ,savino di ,matteo di ,guido1 #fe4 ,seven ,ages of ,man1 the1 #hd4 ,sibyls1 the1 #ca1 et seq4 ,sigismund1 the ,emperor1 #gg1 #aac4 ,solomon1 #ga4 ,sozzini1 ,giovanni ,battista1 #if1 #ada1 #adh4 ,spannocchi1 ,tiburzio1 #ig4 ,tolomei1 ,francesco di ,carlo1 #ic4 ,vescovo1 ,antonio d',agostino del1 #ic4 ,virtues1 the ,cardinal1 #gc4 ,virtues1 the ,theological1 #hg4 ,,chiswick ,,press3 ,,charles ,,whittingham ,,and ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london4 ,transcriber's ,notes ,punctuation1 hyphenation1 and spelling were made consistent when a predominant preference was found in the original book2 otherwise they were not changed4 ,spelling was not checked systematically for any language1 including ,english and ,italian4 ,transcriber did change the spelling of a few names to make them consistent with their predominant spelling elsewhere in the original book1 and corrected the ,greek spelling in ,footnote #bc 7originally on page #bb74 ,simple typographical errors were corrected2 unbalanced quotation marks were remedied when the change was obvious2 most were left unbalanced4 ,illustrations in this e,book have been positioned between paragraphs and outside quotations4 ,in versions of this e,book that support hyperlinks1 the page references in the ,list of ,illustrations lead to the corresponding illustrations4 ,footnotes1 originally at the bottoms of pages1 have been collected1 renumbered into one sequence1 and placed just before the ,index4 ,the index was not checked for proper alphabetization or correct page references4 ,footnote #fe1 originally on page #ef3 ,in 8,ba4401 the 8a0 was printed as a small superscript with two dots below it4 ,page #acf3 8he had two daughters3 ,ersilia 7b4 #aece71 and ,polifila 7b4 #aegc70 was printed that way1 but one of the dates likely was misprinted4