PERIODICAL PUBLICATIONS.
Miscellanea Storica Senese. Siena, from 1893 onwards.
Bullettino Senese di Storia Patria. Siena.
B.—ART.
J. A. Crowe and G. B. Cavalcaselle, A new History of Painting in Italy from the second to the sixteenth century. Three volumes. London, 1864. (A new edition is announced in preparation by Mr Langton Douglas.)
G. B. Cavalcaselle and J. A. Crowe, Storia della pittura in Italia dal Secolo II. al Secolo XVI. Eight volumes. Florence, 1886-1898.
Vasari, Le Vite de’ più eccellenti pittori, scultori ed architettori; con nuove annotazioni e commenti di Gaetano Milanesi. Eight volumes. Florence, 1878-1882.
Documenti per la Storia dell’ Arte Senese, raccolti ed illustrati da Gaetano Milanesi. Three volumes. Siena, 1854-1856.
Nuovi Documenti per la Storia dell’ Arte Senese, raccolti da S. Borghesi e L. Banchi. Siena, 1898.
Giovanni Morelli, Italian Painters, translated by C. J. Ffoulkes. Two volumes. London, 1891-93.
Giovanni Morelli, Della Pittura Italiana; studi storico-critici. (Same work in Italian.) Milan, 1897.
Gustavo Frizzoni, L’Arte Italiana del Rinascimento. Milan, 1891.
Bernhard Berenson. The Central Italian Painters of the Renaissance. New York and London, 1897.
C. C. Perkins, Historical Handbook of Italian Sculpture. New York, 1883.
Marcel Raymond, La Sculpture florentine. Four volumes. Florence, 1897-1901.
Carl Cornelius, Jacopo della Quercia. Halle, 1896.
Alessandro Lisini, Notizie di Duccio Pittore e della sua celebre Ancona (estratto dal Bullettino Senese di Storia Patria, anno v. fasc. 1). Siena, 1898.
Pietro Rossi, L’Arte Senese nel Quattrocento (conferenza, or lecture, to the R. Accademia dei Rozzi). Siena, 1899.
Evelyn March Phillipps, Pintoricchio. London, 1901.
Maud Cruttwell, Luca Signorelli. London, 1900.
William Heywood, A pictorial Chronicle of Siena. Siena, 1902.
R. Hobart Cust, The Pavement Masters of Siena. London, 1901.
G. W. Kitchin, Life of Pius II. (as illustrated in Pinturicchio’s frescoes). Arundel Society.
Catalogo della Galleria del R. Istituto Provinciale di Belle Arti in Siena. Siena, 1895.
C.—THE SAINTS OF SIENA.
Girolamo Gigli, L’opere della Serafica Santa Caterina da Siena.
Vol. i. La Vita, translated by Bernardino Pecci from the Latin Leggenda of the Beato Raimondo da Capua (referred to in the present work as Leggenda); the letter describing her life from Stefano Maconi to Tommaso Nacci Caffarini, and the letter describing her death from Barduccio Canigiani to Suor Caterina Petriboni. Siena, 1707.
Vol. ii. and vol. iii. L’Epistole della Serafica Vergine Santa Caterina. Lucca, 1721, and Siena, 1713.
Vol. iv. Il Dialogo della Serafica Vergine, and her minor works. Siena, 1707.
Vol. v. Supplimento alla vulgata leggenda di Santa Caterina da Siena, by Tommaso Nacci Caffarini, translated by Amb. Ansano Tantucci. Lucca, 1754.
Le Lettere di Santa Caterina da Siena ridotte a miglior lezione, con proemio e note di Niccolò Tommaseo. Four volumes. Florence, 1860. (In quoting from the letters in the present work, I have always adopted the text and the numeration of this edition.)
Leggenda minore di Santa Caterina da Siena e Lettere dei suoi Discepoli, scritture inedite pubblicate da Francesco Grottanelli. The Leggenda minore was written in Latin by Tommaso Nacci Caffarini and translated into Italian by Stefano Maconi. Bologna, 1868.
Alfonso Capecelatro, Storia di Santa Caterina da Siena. Fourth edition. Siena, 1878.
Augusta T. Drane, The History of St Catherine of Siena and her Companions, with a translation of her treatise on Consummate Perfection. Two volumes. London, 1899.
F. Alessio, Storia di San Bernardino e del suo tempo. Mondovi, 1899.
P. M. Oraffi, Vita del Beato Bernardo Tolomei. Venice, 1650.
Silvano Razzi, Vite de’ Santi e Beati Toscani. Florence, 1593-1601.
Gaspero Olmi, I Senesi d’una volta. Siena, 1889.
D.—MISCELLANEOUS.
Siena e il suo Territorio. Siena, 1862.
E. A. Brigidi, La Nuova Guida di Siena e dei suoi aintorni. Siena, 1901, etc.
Girolamo Gigli, Diario Senese, in cui si veggono alla giornata tutti gli avvenimenti più ragguardevoli spettanti sì allo Spirituale sì al Temporale della Città e Stato di Siena. Two volumes. Lucca, 1723.
Girolamo Gigli, La città diletta di Maria. Rome, 1716.
Giovanni Antonio Pecci, Storia del Vescovado della città di Siena. Lucca, 1748.
Scipione Bargagli, I Trattenimenti dove da vaghe donne e da giovani huomini rappresentati sono honesti e dilette voli giuochi, narrate novelle, e cantate alcune amorose canzonette. Venice, 1587.
Giuseppe Rondoni, Tradizioni popolari e leggende di un comune medioevale e del suo contado. Florence, 1886.
Lodovico Zdekauer, Lo Studio di Siena nel Rinascimento. Milan, 1894.
Lodovico Zdekauer, Il Mercante Senese nel Ducento. (A lecture with an Appendix of Documents.) Siena, 1900.
Vittorio Lusini, Storia della Basilica di San Francesco in Siena. Siena, 1894.
Vittorio Lusini, Il San Giovanni di Siena. Florence, 1901.
Antonio Canestrelli, L’Abbazia di San Galgano; monografia storico-artistica. Florence, 1896.
Bartolommeo Aquarone, Dante in Siena: ovvero accenni nella Divina Commedia a cose senesi. Siena, 1865.
Alessandro d’Ancona, Cecco Angiolieri da Siena. In Studi di Critica e Storia Letteraria. Bologna, 1880.
Giosuè Carducci, Rime di M. Cino da Pistoia e d’altri del secolo XIV. Florence, 1862.
Le Rime di Folgore da San Gimignano e di Cene da la Chitarra d’Arezzo, nuovamente pubblicate da Giulio Navone. Bologna, 1880.
Giuseppe Errico, Folgore da San Gimignano e la Brigata Spenaereccia. Naples, 1895.
John Addington Symonds, Sketches and Studies in Italy and Greece. Third volume contains studies on Siena, Folgore, Monte Oliveto, and Montepulciano. London, 1898.
Ambrogio Landucci, Sacra Leccetana Selva, cioè origine e progressi dell’ antico e venerabile Eremo e Congregatione di Lecceto in Toscana. Rome, 1657.
Fra Filippo Agazzari, Gli Assempri, testo di lingua inedito pubblicato per cura di F. C. Carpellini. Siena, 1864.
William Heywood, Our Lady of August and the Palio of Siena. Siena, 1899.
Antonio Marenduzzo, Veglie e Trattenimenti Senesi nella seconda metà del secolo XVI. Trani, 1901.
Montgomery Carmichael, In Tuscany. Contains chapter on the Spanish Praesidia. London, 1901.
Luciano Banchi, I porti della Maremma Senese durante la Repubblica. In the Archivio Storico Italiano, series iii., vols. x., xi., xii. Florence, 1869-1871.
E.—SAN GIMIGNANO.
Giovanni Francesco Coppi, Annali, memorie ed huomini illustri ai San Gimignano. Florence, 1695.
Luigi Pecori, Storia della Terra di San Gimignano. Florence, 1853.
Matteo Villani, Istorie Fiorentine (in continuation of those of his brother Giovanni). In Muratori, Rerum Italicarum Scriptores. Vol. xiv. Milan, 1729; and elsewhere.
Cronachetta di San Gimignano composta da Fra Matteo Ciaccheri Fiorentino, l’anno MCCCLV. Bologna, 1865. Fra Matteo was a native of San Gimignano; he calls himself a Florentine because, when he wrote, all his fellow-townsmen had become Florentine citizens.
Gino Capponi, Storia della Repubblica di Firenze. Appendix to vol. i. Florence, 1878.
Ugo Nomi V. Pesciolini, Le Glorie della Terra di San Gimignano. Siena, 1900.
Natale Baldoria, Monumenti Artistici in San Gimignano. Article in the Archivio Storico dell’ Arte for 1890. Rome, 1890.
Bernhard Berenson, The Florentine Painters of the Renaissance. Second Edition. New York, 1900.
Alfredo Tognetti, Guida di San Gimignano. Florence, 1899.
GENERAL INDEX
[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [L], [M], [N], [O], [P], [Q], [R], [S], [T], [U], [V], [W], [Z]
A.
Abati, Bocca degli, Florentine traitor at Montaperti, [15].
Accona, desert of, [315], [316].
Agazzari, Fra Filippo, author of the Assempri, [23], [305-311].
Agostino di Giovanni, architect and sculptor (died in 1350), [99], [278], [284], [285].
Agnolo di Tura (“Grasso”), chronicler, his description of the pestilence, [25], [26]; quoted, [127].
Agnolo di Ventura, architect (died in 1348), [99], [278], [284].
Aggregati, Monte degli, [75].
Albany, Duke of (John Stuart), [210], [211].
Albertinelli, Mariotto, painter (1474-1515), [124].
Albizzeschi, Bernardino. See Bernardino.
Aldobrandeschi, Counts of Santa Fiora, [7], [14], [15].
Airoldi, Fra Domenico, Abbot of Monte Oliveto, [317], [318], [320].
Alexander III., Pope (Orlando Bandinelli), his pontificate, [5];
consecrates the older Duomo, [6];
frescoes depicting his life, [143], [144];
honoured by modern Siena, [144];
statue of in the Duomo, [160].
—— IV., Pope (Rinaldo Conti), unites the Augustinian hermits into one order, [305].
—— VI., Pope (Roderigo Borgia), threatens the liberty of Siena, [86];
recalls Cesare, [89];
dies, [90];
patron of Pinturicchio, [171];
portraits of, [174].
—— VII., Pope (Fabio Chigi), character of, [160].
Allegretti, Allegretto di Nanni, diarist, quoted [74], [75];
describes the reconciliation of Noveschi and Popolani in the Duomo, [78], [79];
quoted [129], [130], [157] (note);
describes a festa in the Via del Capitano, [257];
referred to, [267] (note);
his account of the reducing the Monti to one and the presentation of the keys to the Madonna, [272-274].
Altoviti, Bartolommeo, Florentine captain in San Gimignano, [338].
Alviano, Bartolommeo, condottiere, [91].
Amerighi, Amerigo, plots the liberation of Siena, [224].
—— Marcantonio, ambassador to the Emperor, [219].
Andrea di Vanni, painter (end of Trecento), [107], [206], [207], [208] (note), [296].
Andrea Pisano (1270-1348), sculptor and architect, referred to, [99], [100].
Anguillara, Conte Virginio dell’, papal condottiere, [212], [213];
routed outside Porta Camollia, [214].
Ansanus, St, Apostle of Siena, [105], [139], [162], [179], [187], [261], [305].
Andrea Dei, [177].
Aragona, Alfonso da, Duke of Calabria (afterwards King of Naples), attempts to obtain the lordship of Siena, [74], [75];
his victory at Poggio Imperiale, [138];
referred to, [272], [314].
—— Eleonora da (afterwards Duchess of Ferrara), [254], [257].
Arbia, the, [17], [314].
Ardinghelli, family of the, lead the Guelfs of San Gimignano, [328], [329], [331];
their factious conduct, [336], [337];
feud with the Salvucci, [337], [338];
get possession of San Gimignano, [338];
forced to surrender to the Florentines, [339];
urge complete submission to Florence, [340];
their palace, [355].
—— Francesco degli, leads an attack upon San Gimignano, [337].
—— Primerano degli, attacks San Gimignano, [337];
judicial murder of, [338], [352]. Ardinghelli, Rossellino degli, fined, [337];
judicial murder of, [338], [352].
—— Scolaio degli, arbitrates between the clergy and people of San Gimignano, [352].
Aringhieri, Alberto, [156], [161], [212].
—— Luzio, executed, [212].
—— Niccolò, monument to, [283].
Arras, Count of, at Montaperti, [14], [15].
Asinate, [130], [131].
Athens, Duke of (Walter de Brienne), [24], [336], [337].
Avila, Don Franzese de, commands Spanish garrison in Siena, [225], [226].
Augustine, St., his legendary visit to Lecceto, [305];
Gozzoli’s frescoes concerning him, [358], [359].
B.
Baglioni, Andrea, his defence of Monticchiello, [228].
—— Giampaolo, his plot against Cesare Borgia, [86];
allied with Pandolfo Petrucci, [87-90].
—— Oreste, condottiere, [93].
Balducci, Matteo, painter (early Cinquecento), [118], [119], [123], [175], [180], [293].
Balìa, Collegio di, institution of, [70];
in the hands of the Popolani, [75];
in those of the Noveschi, [79];
nominally divided among the three Monti, [85];
subservient to Pandolfo, [85];
decrees his banishment, [88];
recalls him, [89], [90];
ruled by Raffaello, [94];
the assassination of Giberto da Correggio by, [144-146];
various changes in and measures of, [211], [213], [218];
subservient to Don Diego, [219], [220];
abolished, [227];
appointed by Cosimo de’ Medici, [244].
Balzana, legend of origin of the, [1], [2].
Bandinelli, Orlando. See Alexander III., Pope.
—— Sozzo, [30].
Bandini, Sallustio, father of Francesco and Mario, [283].
Bandini (Piccolomini), Francesco, Archbishop of Siena, [168];
relations with Michelangelo, [170];
sent to the Emperor, [219];
escapes to Montalcino, [236], [239].
Bandini (Piccolomini), Mario, heads the rising against Fabio Petrucci, [98], [210];
a leader of the Libertini, [210], [211];
calls the people to arms against Alessandro Bichi, [211];
captures the papal artillery at the Battle of Camollia, [214];
heads the opposition to the Noveschi, [216];
arrested by Ferrante Gonzaga, [217];
rebukes the Bardotti, [217];
alluded to, [219];
leads the exodus to Montalcino, [242];
maintains the form of the Sienese Republic at Montalcino, [244];
and dies there, [244].
Bardotti, the, [217], [218].
Barbarossa. See Frederick I., Emperor.
Bargagli, Marino, conspirator, [70].
—— Scipione, novelist, [241], [252], [253], [254], [290], [291].
Barili, Antonio, sculptor (died 1516), [102], [103], [118], [147], [167], [281].
—— Giovanni, sculptor (died 1529), [102], [103], [167].
Barna, painter (died 1380), [107];
his work at San Gimignano, [346].
Baroncetti, Conspiracy of the, in San Gimignano, [335], [336].
Bartolo, San (Buonpedoni) of San Gimignano, his life, [333];
pictures of, [347], [350];
his shrine, [356];
at Cellole, [363].
Bartolo di Fredi, painter (died 1410), his works in Siena, [107];
at San Gimignano, [345], [346], [357].
Bazzi, Giovanni Antonio (“Il Sodoma”), painter, (1477-1549), his life and work, [115], [116];
his pictures in the Istituto di Belle Arti, [118], [120], [124];
frescoes in the Palazzo de’ Signori, [135], [139], [142], [143], [147], [148];
Holy Family under the Spedale, [188];
his work in San Domenico, [203], [204], [205], [206];
other pictures and frescoes by him in Siena, [262], [265], [282];
his frescoes at Monte Oliveto Maggiore, [317-320], [321], [322];
works at San Gimignano, [343], [352], [354].
Beccafumi, Domenico (di Giacomo di Pace), painter and sculptor (1486-1550), [116];
his life and character, [117];
his pictures in the Istituto di Belle Arti, [119], [123], [124];
frescoes in the Sala di Concistoro, [143];
work on the pavement of the Duomo, [158], [159];
other work in the Duomo and elsewhere, [167], [179], [248], [262], [282], [293].
Beccafumi, Lorenzo, one of the delegates from Siena to Cesare Borgia, [89];
his patronage of Domenico, [117].
Belcaro, [302-304].
Bellanti, family of the, lead the Noveschi, [75], [76], [80];
their conspiracy against Pandolfo Petrucci, [91];
return to Siena, [94];
alleged plot against Raffaello Petrucci, [97];
excluded from the Government, [216].
—— Andrea di Naddino, converted by St. Catherine, [46].
—— Ghino di Pietro, treacherous citizen, [70], [112];
his tavoletta, [270].
—— Giulio di Leonardo, his plot against Pandolfo, [91];
is murdered by Francesco Petrucci, [97].
—— Guidone di Leonardo, put to death by Raffaello Petrucci, [97].
—— Leonardo, plots for the return of the Noveschi, [77];
a leading spirit in the party, [80];
begins to resent the Petruccian supremacy, [85];
his letter to Bernardino Borghesi, [85], [86];
intrigues against Pandolfo, [88];
one of the Sienese delegates to Cesare Borgia, [89];
plots against Pandolfo’s life and is declared a rebel, [91];
returns to Siena with Raffaello Petrucci, [94];
is beheaded, [97].
—— Luzio, occupies Montereggioni for the Noveschi, [76];
a leading spirit in the new regime, [80];
routs the Riformatori and Popolani, [82];
is deprived of the command of the mercenaries, [83];
plots against the Noveschi and is banished, [83];
his professed zeal for the liberty of his country, [85], [86];
is murdered by Pandolfo, [85], [86], [92].
—— Petrino, [91].
Benincasa, Caterina. See Catherine, St.
—— Giacomo, [43], [45].
—— Lapa, [43], [57], [66].
—— Lisa (Colombini), [47].
Benvenuto di Giovanni, painter (1436-1518), [109], [119], [120];
his designs for the pavement of the Duomo, [157], [158];
other works by him, [188], [203].
Benedetti, Giovanni Maria, Sienese patriot, [224].
Benzi, family of the, [205].
—— Antonio, canon, [222] (note).
Bernardino, San (Albizzeschi), his life and work, [71], [73];
portraits of, by Vecchietta and Sano di Pietro, [110], [113];
his sermons to the Sienese, [128], [129], [132];
pictures of, [139], [143], [144], [167];
his work for the plague-stricken, [188];
oratory to his honour, [285];
founds the Osservanza, [298];
contemporary portrait of, [300];
his cell, [300].
Bernardino da Asti, Fra, preaches in the Piazza San Martino, [276].
Bernini, Giovanni Lorenzo, sculptor and architect (1598-1680), [154].
Biccherna, Camarlingo e quattro Provveditori di, [6], [9], [21], [27], [269], [270].
Biccherna, Tavolette di, [269-275].
Bichi, family of the, leaders of the Noveschi, [80], [216].
—— Alessandro, adheres to Fabio Petrucci, [98];
becomes the head of the Noveschi, [210];
attempts to make himself tyrant of Siena, [211];
is assassinated by the Libertini, [211];
his palace, [289].
—— Antonio, Sienese commissary to Montepulciano, [81], [83].
—— Antonio Maria, banished, [212].
—— Margherita. See Buonsignori.
Bigozzi, Niccolò dei, at Montaperti, [14].
Bindino da Travale, quoted, [24].
Boccaccio, Giovanni, [25], [131], [132], [324], [363], [364].
Bonizzelli, Giovanni Andrea, put to death, [226].
Bordone, Paris, Venetian painter, (cinquecento), [124].
Borghesi, family, leaders of the Noveschi, [75], [80], [216].
—— Bernardino di Niccolò, [85], [86].
—— Camillo. See Paul V., Pope.
—— Giovanni, [253].
—— Niccolò, organises the return of the Noveschi from exile, [76];
his character, [80];
ambassador from Siena to Charles VIII. of France, [81];
leads the Noveschi against the Popolani and Riformatori, [82];
Luzio Bellanti plots against him, [83];
his murder and death, [85];
Leonardo Bellanti’s letter about, [85], [86];
scene of his murder, [253];
inscription on the Porta Romana ascribed to him, [281].
Borghesi, Pietro (the elder), [82].
—— Pietro (the younger), murdered, [216].
Borgia, Alfonso. See Calixtus III., Pope.
—— Cesare, his designs, [86];
crushes the conspiracy at Sinigaglia, [86], [87];
his enterprise against Siena, [87-89];
is recalled by the Pope, [89];
wins the Palio, [131] (note);
letter of in the Archivio di Stato, [268].
—— Roderigo. See Alexander VI., Pope.
Botticelli, Sandro, painter, (1447-1510), [251], [354].
Brandano, hermit, [223];
assails Don Diego, [224];
mocks the Cardinal Ippolito, [228];
discovers the Madonna of Provenzano, [283];
supposed portrait of, [284].
Brescianino, Andrea (Piccinelli) del, painter, (early sixteenth century), [117], [123], [177], [251], [285].
Bruco, Compagnia del, insurrection of, [37-40].
Bruni, Leonardo, Florentine historian, [15], [16] (note).
Bulgarini, the, family of Noveschi, [216].
Buonaccorsi, Filippo (Callimaco), [343].
Buoninsegni, Bernardino, ambassador from Montalcino, [244].
Buonsignori, Annibale, [244].
—— Margherita, her visions acted upon by the Republic, [213].
C.
Cacciaconti, Aldobrandino di Guido, leads the people against the nobles, [8];
is made Podestà, [9].
Caffarini, Fra Tommaso Nacci, friend and biographer of St. Catherine, [47], [205].
Calixtus III., Pope (Alfonso Borgia), allied with Siena, [70];
idealised portrait of, by Sano di Pietro, [112];
takes Siena under his protection, [112], [113];
condones the assassination of Giberto da Corregio, [146], [147];
in a fresco by Pinturicchio, [173], [174];
his crusading zeal recorded in a Tavoletta di Gabella, [270], [271].
Camarlingo. See Biccherna and Gabella.
Campana, General Council of the, [9], and passim.
Canigiani, Barduccio, disciple and secretary of St Catherine, [61], [62], [66], [292].
Camollia, Battle of, [213-215];
referred to, [216], [221];
in a Tavoletta di Gabella, [274];
votive pictures of, in San Martino and San Giacomo di Salicotto, [276], [277].
Casolani, Alessandro, painter and architect, [124], [197].
Cassioli, Amos, painter, [125], [251].
Calabria, Duke of. See Alfonso and Charles.
—— Duchess of (Ippolita Maria Sforza), [129].
Caterina of Salicotto, the “two-handed sword,” [93].
Catherine, Saint (Caterina Benincasa), her birth and childhood, [43];
takes the Dominican habit, [43], [44];
her early visions and mystical marriage, [44];
her family life, [45];
saves her brothers’ lives, [45];
her mystical change of heart and vision of the spirit world, [46];
her active work in the city, [46], [47];
her disciples, [47], [48];
her account of the execution of Niccolò di Toldo, [48-50];
becomes a political power, [50];
reconciles the Salimbeni, [50];
her letters and her philosophy of life, [51];
letters to the Legate of Bologna and to Bernabò Visconti, [51];
to Beatrice della Scala, [51], [52];
on the corruption of the Church, [52];
supports the proposed Crusade and attempts to rid Italy of the free companies, [52];
at Pisa, [52], [53];
intervenes in the war between Tuscany and the Pope, [54];
her letters to Gregory XI., [54], [55];
to the Signoria of Florence, [55], [56];
at Florence and at Avignon, [56], [57];
persuades the Pope to return to Rome, [57];
at Genoa, [57];
letters to Lapa, Giovanna Maconi and the Pope, [57], [58];
her rupture with Gregory XI., [58], [59];
her troubles, [59];
at Florence for peace, [59];
addresses Urban, [59];
is assailed by the Ciompi, [60];
letters to Frate Raimondo and her disciples at Siena, [60];
her literary work, [61];
her attitude towards Urban VI., [62];
preaches to the Cardinals, [63];
her passionate support of Urban against Clement, [63], [64];
rebukes Frate Raimondo, [64];
works with the Roman Republic, [64];
last political letters, [64], [65];
saves Urban from the people, [65];
her vision of the Navicella, [65];
last farewell to Raimondo, [66];
her death, [66];
Niccolò Borghesi’s devotion to her, [85];
pictures of her, [114], [118], [119], [120], [123], [139];
canonisation of by Pius II., [174];
her relations with the Disciplinati, [187];
unhistorical historical picture of her, [188];
site of her first vision, [189], [190];
her “Oratorio in Fontebranda,” [191];
its history, [191], [192];
statues of her by Urbano da Cortona and Neroccio, [192], [195];
frescoed scenes of her life in her house, [195], [196];
her cell and relics, [196];
the two upper oratories in her house, [196], [197];
the legend of the reception of the Stigmata, [197], [198];
bust of her by Cozzarelli, [198];
her festa in the Contrada, [198], [201];
her shrine in San Domenico, [204], [205];
her relics, [206];
in the Cappella delle Volte, 2[06-208];
her portrait by Andrea di Vanni, [206], [207];
reflections on her mysticism, [209];
heals a feud in San Cristofano, [289];
her letters in the Biblioteca Comunale, [292];
at Belcaro, [303];
relations with the Augustinian hermits of Lecceto, [305], [308], [309];
her praises sung by the papal choristers to the monks of Monte Oliveto, [323].
Ceccolini, Cerreto, [17], [251].
Cerretani, family of the, [37], [40].
—— Ildebrando, [89].
Cellino di Nese, sculptor (later Trecento), [99].
Charlemagne, alleged privileges granted by him to Siena, [2].
Charles I., King of Naples (Charles the Elder of Anjou), [18], [20], [331].
—— III., King of Naples (Charles of Durazzo), [65], [70].
—— IV., Roman Emperor (Charles of Luxemburg), [26];
overturns the government of the Nine, [27], [28];
negotiations with the Sienese, [30], [31];
again at Siena, [32], [33];
his defeat and humiliation, [33], [34], [37].
—— V., Roman Emperor and King of Spain, takes Siena under his protection, [211];
sends Spanish governors and soldiers, [216];
visits Siena, [218];
his ministers and governors, [218], [219];
intends to build a citadel, [220], [221];
his reception of the Sienese ambassadors, [222];
referred to, [226], [227], [232], [241];
Siena capitulates to, [242];
invests his son, Philip II., with Siena, [243].
—— VIII., King of France, [81], [82], [294], [295].
—— of Anjou, Duke of Calabria, [24].
Chigi, Fabio. See Alexander VII., Pope.
—— Sigismondo, [91].
Ciaccheri, Fra Matteo, chronicler of San Gimignano, [335], [336], [339], [340], [344], [353].
Cino, Cardinal Giovanni Battista. See Innocent VIII., Pope.
Cini, Giovanni di Lorenzo, painter (Cinquecento), [274], [276], [277].
Clement VII., Pope (Giulio de’ Medici), aids Fabio Petrucci in his designs on Siena, [98];
supports Alessandro Bichi, [210];
takes up the cause of the Noveschi and declares war on Siena, [212], [213];
his army routed, [214], [215].
Colle di Val d’Elsa, battle of, [19], [20].
Colombini, Beato Giovanni, [111].
Colonna, Giulio, condottiere of the Sienese, [214].
Correggio, Giberto da, his treachery, [70], [112];
put to death by the Balìa, [144-146].
Cozzarelli, Giacomo, architect and sculptor (1453-1515), [102], [248], [262], [282], [299], [300].
——, Guidoccio, painter (1450-1516), [114], [119], [157], [274].
Coppi, G. A., chronicler of San Gimignano, [330].
D.
Dante, on the battle of Montaperti, [16];
on Provenzano Salvani, [19], [131], [283];
on the battle of Colle and Sapia, [20];
other references of his to Sienese matters, [21], [22], [23];
Boccaccio’s account of him in the Campo, [131], [132];
referred to, [139], [141], [149];
the decorations and pavement of the Duomo illustrated from the De Monarchia and the Divina Commedia, [154], [155], [156];
referred to, [165], [177], [178];
his story of La Pia, [258];
his allusion to the Diana, 262 (and note);
collection of documents illustrating his works, [268], [269];
references to, [300], [305];
his embassy to San Gimignano. [333], [334];
his Inferno contrasted with that of Taddeo di Bartolo, [346], [347];
in the Council Chamber of San Gimignano, [352];
references to, [355], [359].
Dodicini, the (Monte de’ Dodici, Popolani of the Middle Number), obtain the chief authority in the Republic, [28];
their administration, [28-30];
their overthrow, [30], [31];
make common cause with the Salimbeni, [31], [32], [33], [37];
join in the massacre of the Costa d’Ovile, and attempt to capture the Palazzo, [39];
are excluded from the government, [40];
rise against the Riformatori, [41];
share in the new regime, [67];
are expelled again, [68];
again readmitted to the government, [75];
their factious conduct, [75], [86];
their Monte united to that of the Gentiluomini, [79];
take part with the Noveschi, [82];
act of vandalism perpetrated by them, [127];
included in the Monte del Popolo, [211];
in that of the Gentiluomini, [216].
Diana, the, [262].
Diego. See Hurtado de Mendoza.
Domenico di Bartolo, painter (extant works dating from 1433 to 1443), [109];
his picture in the Istituto di Belle Arti, [109], [110];
his work on the pavement of the Duomo, [158];
his frescoes in the Spedale, [185-187].
Domenico di Niccolò del Coro, sculptor (died about 1450), [102];
his choir stalls in the Palazzo Pubblico, [142];
his work on the pavement of the Duomo, [158].
Donatello (Donato di Niccolò di Betto Bardi), sculptor (1386-1466), [101];
his works in the Duomo, [161], [162];
a Madonna ascribed to him, [176];
his work on the Font of the Baptistery, [181], [182].
Doria, Andrea, occupies Talamone, [212].
Duccio di Buoninsegna, painter (born before 1260, died after June 1313), [23];
his work and period of activity, 103 (and note);
his pictures in the Istituto di Belle Arti, [105];
erroneous tradition that he designed the pavement of the Duomo, [154];
referred to, [167];
his famous Ancona now in the Opera del Duomo, [177-179];
picture ascribed to him, [188];
his house, [261];
a work of his no longer in Siena, [301];
referred to, [346].
Duprè, Giovanni, modern Sienese sculptor, [125], [265], [266].
Dominic, St, [201].
E.
Este, Ercole I. da, second Duke of Ferrara, [138], [254], [257].
—— Ercole II. da, fourth Duke of Ferrara, [242].
—— Ippolito II. da, Cardinal of Ferrara, governs Siena in the name of France, [227], [228], [232], [233], [257].
—— Eleonora d’Aragona da. See Aragona.
Eugenio, Sant’, “Il Monastero,” [301].
Eusebio di San Giorgio, painter, assistant of Pinturicchio, [174].
F.
Faggiuola, Uguccione della, his victory at Montecatini, [24], [335];
Folgore’s sonnet concerning him, [335].
Fantozzo, Giovanni Battista, leader of the republican plot against Alessandro Bichi, [211].
Farinata. See Uberti.
Fausta, Livia, praised by Montluc, [234].
Federighi, Antonio, architect and sculptor (died about 1480), [101];
his work on the Chapel of the Campo, [135];
on the pavement of the Duomo, [157], [158];
other works of his in the Duomo, [159], [160], [161];
a Moses ascribed to him, [176];
a graffito design of his for the Baptistery, [181];
worked on the Oratory of St Catherine in Fontebranda, [192];
on the Loggia di Mercanzia, [247];
on the Palazzo delle Papesse, [252];
built the Loggia del Papa, [275];
his work at the chapel of the Palazzo dei Diavoli, [295].
Ferraccio, leader of the populace, [38].
Ferrante of Aragon, King of Naples, [74], [75].
Filippo, Fra. See Agazzari.
Fina, Santa (Fina de’ Ciardi of San Gimignano), her life, [329], [330];
her shrine in the Collegiata of San Gimignano, [348], [349];
other pictures of her, [350], [353], [360];
the Spedale in her honour, [360], [361].
Flete, William, Augustinian hermit, [305], [308].
Florence, wars of, with Siena, [6-9], [11-18], [20];
alliance of, with Siena, [20];
makes peace between the Sienese nobles and people, [37];
stimulates opposition to the Riformatori, [41];
leads the war of the Tuscan Republics against the Pope Gregory XI., [53-56], [59];
wars with Siena concerning Montepulciano, [67];
other wars with Siena, [74], [82], [83];
aids the Petrucci, [89], [94], [98];
supports Alessandro Bichi, [210], [211];
renews hostilities with Siena in union with Clement VII., [212-215];
the last war between her and Siena, [231-243];
relations with San Gimignano, [327], [331], [333], [334], [336];
her final subjugation of San Gimignano, [337-342];
and passim.
Fogliani, Guidoriccio dei, Captain of War in Siena, [136], [137].
Folcacchieri, Folcacchiero dei, poet, [9].
Folgore da San Gimignano, poet, [22];
his corona of sonnets for the months of the year, [22], [23];
his sonnet on a knight’s vigil, [161];
his brigata of young nobles, [292], [293];
his corona of sonnets for the days of the week, [334], [335];
sonnet on the Guelf defeat at Montecatini, [335].
Fonte, Fra Tommaso della, follower of St Catherine, [46], [47].
Forestani, Simone di Ser Dino, poet, [67], [68].
Forteguerri, family of the, [25], [27];
their tower and palace, [252], [253].
—— Vittoria. See Piccolomini.
—— a lady of the family praised by Montluc, [234].
Fortini, Pietro, novelist, [115], [283], [293], 294 (and note).
Franchi, Alessandro, modern Sienese painter, [153], [159], [195].
Francis, St, his visit to Lecceto, [305]; and passim.
Frederick I., Roman Emperor (Hohenstauffen), [5], [143], [144].
—— II., Roman Emperor (Hohenstauffen), [9].
—— III., Roman Emperor (Hapsburg), [72], [172], [173], [295].
Fungai, Bernardino, painter (1460-1516), [114];
works by him in the Istituto di Belle Arti, [119], [120];
and elsewhere in Siena, [188], [196], [197], [202], [274], [277], [294].
Fusina, Andrea, sculptor (latter part of the Quattrocento.), work on the Piccolomini altar of the Duomo, [169].
Francesco di Giorgio Martini, architect, sculptor and painter (1439-1502), [102], [109];
pictures in the Istituto di Belle Arti, [114], [119];
altarpiece by him in San Domenico, [202];
Tavolette of Biccherna and Gabella ascribed to him, [271], [272];
the Palazzo Bandini and the Madonna delle Nevi probably built by him, [283], [292];
picture by him at Sant’Eugenio, [301].
G.
Gabella, Camarlingo e Esecutori di, [269].
——, Tavolette e tavole di, [269-275].
Gaddi, Taddeo, painter (circa 1300-1366), picture by him at Siena, [108].
Galgano, Abbazia di San, [313];
palace in Siena that belonged to the monks of, [278]. Galganus, St (Galgano Guidotti), [105], [106], [313].
Gallerani, the Beato Andrea, [105].
Gano da Siena, sculptor (middle of fourteenth century), [134], [162].
Garcia de Toledo, imperialist general, [228], [231].
Genga, Girolamo, painter (1476-1551), [115];
works by him in Siena. [118], [123], [176].
Gentiluomini, Monte dei, [7], [21];
they temporarily recover possession of the State, [31];
papal intervention on behalf of, [73];
later share in government, [79], [216], and passim.
Ghiberti, Lorenzo, sculptor (1378-1455), [100], [101];
quoted on Duccio, [103];
on other Sienese painters, [104];
his story of the Venus of Lysippus, [127];
his praise of Simone Martini, [136];
his bronze bas-reliefs on the Font of the Baptistery of Siena, [181], [182].
Ghirlandaio, Domenico, painter (1449-1494), his works in San Gimignano, [348], [349], [351].
Giacomo della Quercia. See Quercia.
Giacomo di Mino Pellicciaio, painter (died in 1396), [107], [108];
designed the façade of the Baptistery, [176], [180];
picture in the Servi, [277].
Giacomo di Castello, worker in stained glass, executes window for the Duomo, [167].
Giacomo Cozzarelli. See Cozzarelli.
Gilio di Pietro, painter (working in the middle of the thirteenth century), painted the portrait of Don Ugo on a Tavoletta di Biccherna, [270].
Giordano, Count, representative of King Manfred in Siena, [11];
commands mercenaries at Montaperti, [13-16], [18];
contrasted by Malavolti with Piero Strozzi, [232].
Giorgio di Giovanni, painter (working in the middle of the sixteenth century), tavolette ascribed to him, [275].
Giotto da Bondone, architect, sculptor and painter (circa 1276-1336) referred to, [110], [112];
supposed design for his Campanile at Florence in the Sienese Opera del Duomo, [176];
compared with Duccio, [177], [179];
referred to, [278];
his death of St Francis, [359].
Giovanna of Anjou, Queen of Naples, [52], [63], [64], [65].
Giovanni di Agostino, architect (son of Agostino di Giovanni), superintends building of the new Duomo, [150], [153].
—— di Niccolò Pisano, architect and sculptor (born circa 1250—died after 1328), chief architect of the Duomo, [99], [153];
his tombstone, [153];
one of the pupils of his father in the work of the pulpit, [162].
—— di Paolo, painter (died in 1482), [109];
works by him in the Istituto di Belle Arti, [111];
and elsewhere in Siena, [180], [251], [270], [296].
—— di Pietro, painter (painting in 1436), picture by him in the Servi, [278].
—— di Stefano, architect and sculptor (son of Sassetta, died after 1498), [102];
work on pavement of Duomo, [155], [157];
in the Chapel of the Baptist, [160], [161];
bronze Angels by him, [167].
—— da Verona, Fra, sculptor (working at the beginning of the Cinquecento), his intarsia work in the Duomo, [167];
works at Monte Oliveto Maggiore, [322], [323].
Girolamo di Benvenuto, painter (1470-1524), [114], [115];
picture by him in the Istituto di Belle Arti, [120];
in the house of St Catherine, [196];
in Fontegiusta, [294].
—— da Cremona, painter and miniaturist (end of Quattrocento), [176].
—— Magagni, called Giomo, painter (pupil of Bazzi), [118].
Giunta Pisano, painter (working in the middle of the thirteenth century), miraculous Crucifix ascribed to him in the House of St Catherine, [197].
Gonzaga, Don Ferrante, [217].
—— Giovanni Francesco, Marquis of Mantua, [131] (note).
Gozzoli, Benozzo, painter (1420-1498), his works in the Collegiata of San Gimignano, [347], [349], [350];
in Sant’ Agostino there, [357-360];
in Monte Oliveto, [362]. Gregorio da Siena, painter (early fourteenth century), [180].
Gregory the Great, Pope, his Dialogues, [317], [322].
—— XI., Pope (Pierre Roger de Beaufort), his relations with St Catherine, [51-57];
return to Rome, [58];
his rupture with St Catherine, [58];
references to, [59], [188], [197], [206].
Guido da Siena, painter (latter part of the thirteenth century), his Madonna in the Palazzo Pubblico, [138].
Giuoco delle Pugna, [130], [131], [239].
Gori, Francesca, follower of St Catherine, [47], [62], [204].
Goro di Neroccio, sculptor (early Quattrocento) work in Baptistery, [182].
Guidoguerra, Count, [12].
Guido Novello, Count, [14], [19].
H.
Hawkwood, Sir John, condottiere, [29], [30], [40], [52].
Henry VII., Roman Emperor (Luxemburg), [24], [177], [314], [315], [334].
Hurtado de Mendoza, Diego, Spanish Governor of Siena, [219], [220].
I.
Illicini, Bernardo, novellist, [291] (note).
Innocent VIII., Pope (Giovanni Battista Cibo, Malfetta), [76], [273], [343].
J.
John XXII., Pope (Jacques d’Euse), [316].
Julius II., Pope (Giuliano della Rovere), [90], [92], [93].
Julius III., Pope (Giovanni Maria del Monte), [241], [251].
L.
Landi, Neroccio di Bartolommeo, sculptor and painter (1447-1500), [102], [109];
pictures by in the Istituto di Belle Arti, [114];
his Hellespontine Sibyl, [157];
other works by him in the Duomo, [160], [161];
statue of St Catherine in the oratory of Fontebranda, [192], [195];
his pictures in the Palazzo Saracini, [251];
other works in Siena ascribed to him, [272], [278], [293].
Lando, Pietro di, architect (working in 1339), superintends the building of the new Duomo, [150], [153].
Lanzi, Padre quoted, [103].
Landucci, Ambrogio, historian of Lecceto, [305], [306], [311].
Lecceto, the Hermitage of San Salvatore di, [304-312].
Leonardo al Lago, San, church and ruined hermitage, [312-313].
Leo X., Pope (Giovanni de’ Medici), [94], [97].
Libertini, the, [210], [211], [214], [215].
Lippi, Filippino, painter (1457-1504), his Annunciation at San Gimignano, [354].
Lippo, Memmi, painter (died about 1356), [104];
pictures in his manner in the Istituto di Belle Arti in Siena, [106];
designs upper part of the Torre del Mangia, [135];
his Madonna del Popolo in the Servi, [278];
his fresco in the Sala del Consiglio of San Gimignano, [352], [353];
remains of a fresco by him in Sant’ Agostino at San Gimignano, [357];
works of his school in other churches there, [360], [362].
Lippo di Vanni, painter (later Trecento), [107];
fresco by him in the Palazzo Pubblico, [137], [138].
Lorenzetti, Ambrogio, painter (working in 1323, died in 1348), [23];
is Siena’s greatest master, [104];
his works in the Istituto di Belle Arti, [106], [107];
his frescoes in the Sala dei Nove, [139-141];
other works by him, [147], [179], [270];
frescoes by him in the Servi, [277], [278];
works in San Francesco, [285];
a Madonna by him in Sant’ Eugenio, [301];
frescoes of his school in Lecceto and San Leonardo, [309], [310], [313].
—— Pietro, painter (working between 1305 and 1348), [104];
pictures by him in the Istituto di Belle Arti, [106], [107];
his works in the Opera del Duomo, [179];
frescoes attributed to him in the Servi and in San Francesco, [277], [284]; picture in San Pietro Ovile, [286].
Lorenzo di Mariano. See Marrina.
—— di Pietro. See Vecchietta.
Luca di Tommè, painter (died in 1381), [107], [108].
Lucari, Buonaguida, Dictator before Montaperti, [13], [14].
Luca di Bartolo, architect (middle of Quattrocento), [252].
Luna, Don Juan de, Spanish Governor of Siena, [218].
Lupa, legend of origin of the, [1].
Luti, Lodovico, Sienese exile, [82];
murdered by Pandolfo Petrucci, [85].
M.
Machiavelli, Niccolò, on the Noveschi, [80];
on Pandolfo’s rise to power, [80], [81];
on Florentine interference in Sienese factions, [83];
on Antonio da Venafro, [85];
his account of Cesare Borgia’s attempt upon Siena, [86-88];
his legation to Siena, [91];
his appreciation of Pandolfo, [93];
his correspondence with Francesco Vettori, 215 (and note);
at the Palazzo del Magnifico, [248].
Maconi, Corrado, [289].
—— Giovanna, letter of St Catherine to, [57].
—— Lano, killed at Pieve del Toppo, [21].
—— Stefano di Corrado, disciple of St Catherine, [48], [57], [59], [61], [62], [66], [187], [289].
Maiano, Benedetto da, sculptor (1442-1497), his Ciborium in San Domenico at Siena, [202];
his shrine of Santa Fina, [348], [349];
other work in the Collegiata of San Gimignano, [351];
his shrine of San Bartolo, [356].
—— Giuliano da, architect and sculptor (1432-1490), probably built the Rifugio and the Palazzo Spannocchi at Siena, [278], [290];
altered the Collegiata of San Gimignano, [345];
designed the chapel of Santa Fina, [348].
Mainardi, Sebastiano, painter (died in 1513), portrait ascribed to him in the Palazzo Saracini, [251];
native of San Gimignano, [342];
his works there, [349], [351], [353], [356], [357], [362].
Maitani, Lorenzo, architect and sculptor (died in 1330), the presiding genius of the Duomo of Orvieto, [99];
his proposal to the General Council for a new Duomo in Siena, [149], [150].
Malatesta, Malatesta dei, imperial vicar in Siena, [31-34], [37].
Malavolti, family of the, [2], [5], [25], [37], [40], [68];
the Poggio de’, [292].
—— Filippo, leads Sienese crusaders, [5];
holds office of Podestà, [6].
—— Francesco, disciple of St Catherine, [47], [48].
—— Girolamo, at Belcaro, [304].
—— Maghinardo, podestà of San Gimignano, [327].
—— Orlando, opposes the Duke of Milan, [68];
is murdered, [68], [69].
—— Orlando, historian of Siena, quoted or referred to, [18], [32], [33], [73], [232];
his embassy to Charles V., [220], [222];
his opposition to Piero Strozzi, [232].
Malena, the, [17].
Malfetta, Cardinal. See Innocent VIII., Pope.
Mariano da Genazzano, Fra, [129], [130], [273].
Manfred, King of Sicily and Apulia, [10], [11], [13], [18], [19].
Manfredi da Sassuolo, podestà, leads the nobles against the people, [8].
Marcellus II., Pope (Marcello Cervini), [159].
Marrina (Lorenzo di Mariano), sculptor (died in 1534), [102];
his chief works in Siena, [160], [247], [268], [276], [294].
Manetti, Rutilio, painter (1572-1639), [124], [125], [258], [266], [282], [292].
Martini. See Simone and Francesco di Giorgio.
Martinozzi, Giovanni, a leader of the Noveschi, joins rising against Fabio Petrucci, [98], [210];
exiled, [212];
in the papal camp before Siena, [213];
harries the Valdichiana, [215];
returns to Siena and is killed, [216].
Matteino di Ventura Menzani, Captain of the People, leads the Sienese against Charles IV., [33], [34].
Matteo di Giovanni, painter (1435-1495), [109];
pictures in the Istituto di Belle Arti, [114], [119];
in the Palazzo Pubblico, [142], [143];
work for Pavement of Duomo, [157], [158];
other pictures by him in Siena, [179], [265], [277], [292];
in the National Gallery of London, [301];
at Belcaro, [304];
at Buonconvento, [314].
Marignano, Marchese di. See Medici, Gian Giacomo.
Matilda, Countess, [2].
Marciano, Battle of, [235].
Medici, Cosimo de’, Duke of Florence (afterwards Grand Duke of Tuscany), [132], [222], [225], [226], [228], [231], [232], [242-245], [275], [363].
—— Galeotto de’, [98].
—— Gian Giacomo, Marchese di Marignano, conducts the last war against Siena, [232], [233], [235], [240], [241], [242];
enters the city, [243].
—— Giovanni. See Leo X., Pope, at Belcaro, [304].
—— Giulio. See Clement VII., Pope.
—— Lorenzo, the elder, [74].
—— Lorenzo, the younger, [97], [248].
—— Pietro, [81], [82].
Memmi. See Lippo.
Mendoza. See Hurtado.
Michelangelo Buonarroti, architect, sculptor and painter (1475-1564), his work for the Piccolomini, [169], [170];
his letters to his nephew on the subject, [170];
Bandini monument ascribed to him, [170].
Milanesi, Gaetano, [141], [179].
Minuccio and Francesco di Rinaldo, architects of Perugia, build the Torre del Mangia, [132], [135].
Montalcinello, Sienese defeat at, [30].
Montalcino, quarrels between Siena and Florence concerning, [7], [10], [11], [12];
humiliation of, [18];
unsuccessfully attacked by papal forces, [213];
besieged by the imperialists, [228], [231];
last refuge of the Republic, [244];
capitulates, [244];
tavolette concerning, [275];
view of, from Monte Oliveto, [315].
Montaperti, Battle of, [14-17].
Montemassi, [11], [12], [137].
Montepulciano, quarrels between Siena and Florence concerning, [7], [11], [12];
given to Siena by Manfred, [18];
revolts after the fall of the Nine, [29];
returns to Siena, [29];
lost again, [67];
returns to Siena, [81], [82];
restored to Florence by Pandolfo, [89], [92];
St Catherine at, [195].
Monte Oliveto Maggiore, [314-323].
Montereggioni, [11], [76], [213].
Montfort, Guy de, Vicar of Charles of Anjou, [20], [331].
Montluc, Blaise de, Marechal of France, takes command in Siena, [233];
his heroic defence of the Republic and his Commentaries, [234], [235], [236], [239], [240], [242].
Monticchiello, heroic defence of, [228].
Monti, the meaning of the term, [21], [32], [33].
See Dodicini, Gentiluomini, Aggregati, Noveschi, Nobili Reggenti, Popolo, Riformatori.
Morelli, Giovanni, [115], [123].
Moro, Cristoforo, Doge of Venice, [174], [175].
N.
Naddo di Francesco, Captain of the People, attempts to suppress a rising, [38];
plots, and is executed, [39].
Neroccio. See Landi.
Neroni. See Riccio.
Niccolò Pisano, architect and sculptor (circa 1206-1278), his coming to Siena marks an epoch, [99];
influence of his style upon Giacomo della Quercia, [100];
his pulpit in the Duomo, [162-166].
Neri di Donato, chronicler, [34].
Nine. See Nove.
Nobili Reggenti, Monte dei, [210], [211].
Nove, Magistracy of the, [21];
their rule, [23-25];
their fall, [26-28];
their Sala, [139-141].
Noveschi, the (Monte dei Nove), their beginning, [21], [32], [33], [37], [38], [39], [41];
share in the government, [67], [69];
struggle with the democratic orders, [75];
expelled from Siena, [76];
their return, [77], [78];
their prepotency in the State, [78-80], [85];
are divided among themselves, [98], [210];
renewed struggle with the democratic orders, [211], [213], [215];
are deprived of all share in the government, [216];
obtain a fourth part, [216];
favoured by the imperial agents in Siena, [218], [219], [220];
allegory of their return, [274].
O.
Oriuoli, Pietro di Francesco degli, painter (died in 1496), fresco by him in the Baptistery, 183 (and note).
Osservanza, the, [298-301].
P.
Pacchia, Girolamo del, painter (1477-1535), [116];
his pictures in the Istituto di Belle Arti, [118], [120], [123];
his frescoes in the House of St Catherine, [195];
in the oratory of San Bernardino, [285], [286];
altarpiece in San Cristofano, [289].
Pacchiarotti, Giacomo, painter (1474-1540), [115];
pictures by, [119], [120], [262];
his political escapade, [217], [218].
Pagliaresi, Neri di Landoccio, disciple and secretary of St Catherine, [47], [56], [57], [195], [306].
Palio, the, [130], [131].
Pannocchieschi, Nello dei, [258].
—— Pagano dei, Bishop of Volterra, [328].
—— Ranieri dei, Bishop of Volterra, [329], [349], [365].
Paolino da Pistoia, Fra, painter (1490-1547), fresco in Santo Spirito, [282];
pictures at San Gimignano, [354], [362], [363].
Paolo di Giovanni, painter (latter part of Trecento), [107], [108].
—— di Maestro Neri, painter (active between 1343 and 1382), his frescoes at Lecceto, [309], [310].
—— di Martino, sculptor (early Quattrocento), [158].
Parri di Spinello, painter, [143].
Pastorini, Pastorino, master in stained-glass, [159].
Patrizi, Patrizio, companion of Bernardo Tolomei, [316].
Paul IV., Pope (Giovanni Pietro Caraffa), [243].
Pavement of the Duomo, [154-159].
Pecci, family of the, Noveschi, [75].
—— Giovanni Antonio, historian, [94], [213].
—— Giovanni, canon, [214].
—— Guido, represents Pandolfo Petrucci at La Magione, [86].
—— Tommaso, his palace, [254], [257].
Pellari, Guelf family in San Gimignano, [331], [333].
Pecori, Luigi, historian of San Gimignano, [326], [333], [341], [355].
Perugino, Pietro Vannucci, painter (1446-1523), [115];
his picture in Sant’ Agostino at Siena, [265].
Peruzzi, Baldassare, architect and painter (1481-1536), [116], [117];
an early work of his in the Istituto di Belle Arti, [118], [119];
his porticato for the Campo, [126];
early frescoes in the Duomo, [161], [162];
designs the high altar, [167];
other works ascribed to him, [177], [196], [262];
his praise of Beccafumi, [262];
designed the façade of Santo Spirito, [281];
his Sibyl in the Madonna of Fontegiusta, [294];
his later work at Belcaro, [303].
Petroni, Lodovico, member of the Balìa, [145].
—— Riccardo, Cardinal and decretalist, [162].
Petronilla, Santa, skirmish at, [11].
Pelori, Giovanni Battista, architect, [223].
Petrucci, family of the, leaders of the Noveschi, [75];
are exiled, [76];
return, [77], [78], [80];
excluded from the government, [216].
—— Agnolo, murdered by the people, [76].
—— Alfonso di Pandolfo, receives the Cardinal’s hat, [92];
at the court of Leo X., [94];
execution of, [97].
—— Antonio, plots against the State, [70].
—— Antonio Maria, [257].
—— Aurelia (Borghesi), wife to Pandolfo, [80].
—— Bartolommeo, heads a rising, [218].
—— Borghese di Pandolfo, marries Vittoria Piccolomini, [92];
succeeds to his father’s despotism, [93];
his character, [93], [94];
flies from Siena and is declared a rebel, [94];
goes mad, [98];
entertains the younger Lorenzo de’ Medici, [248].
Petrucci, Celia, [300].
—— Eustacchio, [98].
—— Fabio di Pandolfo, flies from Siena and is declared a rebel, [94];
re-enters Siena with papal aid, [98];
his tyranny and expulsion, [98];
made governor of Spoleto, [216].
—— Francesco di Camillo, murders Giulio Bellanti, [97];
makes himself master of Siena, [98];
murders Marcello Saracini and is summoned to Rome, [98];
threatens Massa, [215];
restored to Siena, [216];
leads a tumult of the Noveschi, [216];
is declared a rebel, [218].
—— Giacoppo, [80], [81], [83];
his palace, [257].
—— Lattanzio, [97], [212].
—— Pandolfo, leads the Noveschi, [75];
returns from exile, [77], [78], [80];
is given the command of the mercenaries, [80], [81];
knighted by the King of France, [81];
makes himself master of Siena, [82], [83];
his policy, [84];
his murder of Niccolò Borghesi, [85], [86];
attitude towards France and the Borgia, [86];
represented at La Magione, [86];
assailed by Cesare Borgia, [87], [88];
his exile decreed, [88];
leaves Siena, [89];
supported by France and Florence, [89];
re-enters Siena in triumph, [90];
his despotism and treacherous policy, [90], [91];
conspiracy of the Bellanti against him, [91];
character of the last years of his rule, [92], [93];
his death, [93];
his project for a porticato to the Campo, [126], [177];
his palace, [248];
site of his murder of Niccolò Borghesi, [253];
benefactor of Santo Spirito, [281];
of the Osservanza, [298], [299];
his tomb, [300].
—— Raffaello di Giacoppo, occupies Siena with papal aid, [94];
alliance with the Medici and the Pope, [94], [95];
butchers the Bellanti, [97];
is made a Cardinal, [97];
tumult at his burial, [97], [98];
his palace, [257].
Pettignano, Beato Piero, [21], [22].
Philip II., King of Spain, [242];
is invested with Siena as a vacant fief of the Empire, [243];
cedes it to Cosimo de’ Medici, [243].
Pia, La, Sienese lady recorded by Dante, [258].
Piccinino, Jacopo, his war upon Siena, [70], [112], [144], [145], [270], [271].
Piccinelli. See Brescianino.
Piccolomini, family of the, [2], [5], [25], [27], [37], [40], [72], [73], [168];
palaces of, [251], [252], [253], [254].
—— Alessandro, bishop and man of letters, [168].
—— Alfonso d’Aragona, Duke of Amalfi, [216], [218].
—— Beato Ambrogio, [316].
—— Andrea (di Nanni Todeschini), received into the Monte del Popolo, [73];
submits to the regime of the Noveschi, [78];
intervenes between the rival factions, [82];
one of the delegates from Siena to Cesare Borgia, [89];
goes into exile, [90];
his daughter married to Borghese Petrucci, [92];
one of the heirs and executors of Pius III., his brother, [169];
his palace, [267].
—— Antonio, Archbishop of Siena, [168].
—— Antonio (di Nanni Todeschini), Duke of Amalfi, [73].
—— Ascanio (di Enea delle Papesse), Archbishop of Siena, [168];
his palace, [252];
referred to, [265].
—— Caterina, sister of Pius II., wife of Bartolommeo Guglielmi, builds the Palazzo delle Papesse, [251], 252 (and note).
—— Enea delle Papesse, delivers Siena from the Spaniards,
[225];
escapes during the siege, [239];
dies at Montalcino, [244].
—— Enea Silvio. See Pius II., Pope.
—— Francesco (di Nanni Todeschini). See Pius III., Pope.
—— Giacomo (di Nanni Todeschini), received into the Monte del Popolo, [73];
heir and executor of Pope Pius III., [169];
his palace, [267].
—— Giacomo di Anton Maria, refuses to marry the daughter of Don Juan, [218].
Piccolomini, Giovanni di Andrea, Cardinal Archbishop, [168].
—— Giovanni Battista, leads the rising against Fabio Petrucci, [98], [210].
—— Girolamo, Bishop of Pienza, [281].
—— Guido di Carlo, Senator of Rome, [175].
—— Laodomia, sister of Pius II. and wife to Nanni Todeschini, [73].
—— Piero, [30].
—— Silvio, father of Pius II., [284].
—— Tommaso, Bishop of Pienza, [160].
—— Vittoria Forteguerri, mother of Pius II., [284].
—— Vittoria di Andrea, wife of Borghese Petrucci, [92].
—— lady of the family of, praised by Montluc, [234].
—— See Bandini.
Pier Francesco Fiorentino, painter (latter part of Quattrocento), his works in Siena, [110], [111];
in San Gimignano, [348], [351], [353], [354], [356], [362].
Pietro di Domenico, painter, (1457-1501), [114], [293].
Pietro di Lando, architect (still working in 1339), superintends the building of the new Duomo, [150], [153].
Pini, Giovanni Maria, leads the Sienese at the Battle of Camollia, [214];
heads a tumult of Noveschi, [216].
Pinturicchio Bernardino, painter (1454-1513), [115], [118];
picture by, in the Istituto di Belle Arti in Siena, [124];
his Story of Fortune, [156];
his frescoes in the Chapel of the Baptist, [161];
his frescoes in the Library of the Duomo, [170-175];
remains of works in the Palazzo del Magnifico, [248];
his Assumption at San Gimignano, [354].
Pisano. See Giovanni, Giunta, and Niccolò.
Pitigliano, Count Lodovico of, [212].
Pietro del Minella, architect and sculptor (1391-1458), [101];
work on pavement of Duomo, [158];
on the font of the Baptistery, [182].
Pius II., Pope, (Enea Silvio Piccolomini), his early life, [71], [72];
Bishop of Siena, [72];
elected Pope, [72];
attempts to force the Sienese to admit nobles into the administration, [73];
his benefits to Siena, [73];
creates Pienza, [74];
his letter to the Balìa about Calixtus III., [112], [113];
gives relics to the Duomo, [160];
statue of, [162];
Bishop of Siena and raises the See to an Archbishopric, [168];
his nephew’s devotion to, [168], [170];
ten scenes from his life frescoed by Pinturicchio, [171-175];
his account of the meeting of Frederick and Leonora, [173];
his enthusiasm for the Eastern Question and canonisation of St Catherine, [174];
his death, [174], [175];
his episcopal ring, [180];
referred to, [197];
statue of, [265];
Tavolette of Biccherna and Gabella concerning him, [271];
raises a monument to his parents in the church, and stays in the convent of San Francesco, [284];
his reception at the Porta Camollia, [294];
visits Lecceto, [312];
his visit to Monte Oliveto, [323].
Pius III., Pope (Francesco Todeschini Piccolomini), received into the Monte del Popolo, [73];
mediates between the People and the Noveschi, [75];
his pacific influence, [77];
accepts the new regime of the Noveschi, [78];
presides at a solemn reconciliation in the Duomo, [78], [79];
his short papacy, [90];
referred to as Cardinal, [129], [130];
statue of in the Duomo, [162];
Archbishop, [168];
orders the altar of the Piccolomini and his own tomb, [168];
his character, [168];
his elevation to the papacy, attempt to reform the Church and untimely death, [169];
builds the library of the Duomo, [170];
fresco representing his coronation, [170], [171];
his contract with Pinturicchio, [171], [175];
a Tavoletta di Gabella concerning him, [271].
Placidi, family of the, Noveschi, [216].
Placidi, Aldello, [213].
—— Neri, [76], [83].
Poccetti, Bernardo, painter (1542-1612), [124], [343], [356].
Pochintesta da Bagnacavallo, condottiere, [90], [94], [97].
Podestà, institution of the office in
Siena, [5], [6], [9], [10];
institution of the office in San Gimignano, [326], [327];
method of his election in latter town, [332], [333].
Poggibonsi, destruction of the Castello of, [331].
Poggio Imperiale, battle of, [74], [138].
Pomarelli, architect, [177].
Ponsi, Girolamo di Domenico, architect, [188].
Pollaiuolo, Pietro, painter (1443-1496), his altarpiece at San Gimignano, [350].
Popolani (in the special sense of members of the Monte del Popolo), [67], [73], [75], [78], [79], and passim.
Popolo, Monte del, institution of, [67];
supports the Milanese suzerainty, [68];
has a third of the Signoria, [69];
the Todeschini received into, [73];
supports the Duke of Calabria, [74];
gets control of the State, [75], [76];
ousted by the Noveschi, [78];
has still nominally a third part of the government, [79];
annulled with the other Monti, [210];
restored, [211].
Possa, El (Domenico di Michele), [138].
Provenzano Salvani. See Salvani.
—— Madonna di, [283], [284].
Provveditori. See Biccherna.
Pugna, Giuoco delle. See Giuoco.
Q.
Quercia, Giacomo della, sculptor (1371 or 1374-1438), his life and work, [100], [101];
his Fonte Gaia, [127];
sculptures of his school, [143], [161];
remains of his reliefs from the Fonte Gaia, [176];
his work on the Font of the Baptistery, [181], [182].
—— Priamo della, painter (brother of Giacomo), his fresco in the Spedale, [186].
R.
Raimondo, Beato. See Vigne.
Ramo di Paganello, sculptor (working during the last twenty years of the Trecento), [99];
his St Francis, [284].
Raphael, [171], [174], [175].
Riformatori, origin of the Monte de’, [32], [33];
their rule, [40];
their downfall, [41], [42];
instance of their oppressive administration, [48];
partially readmitted to the government, [69], [70];
their Monte suppressed, [74];
struggle with the Noveschi, [75], [76];
are distributed among the three Monti, [79];
rise against the Noveschi, [82];
their Monte is restored, [216].
Rinaldini, family of the, [48], [289].
Riccio (Bartolommeo Neroni), architect and painter (middle of Cinquecento), [117], [123], [166], [167], [219] (note), [262], [300], [320].
Rinaldo, Minuccio and Francesco di, architects, [135].
Robbia, Ambrogio della (early Cinquecento), sculptor, work in Santo Spirito, [282].
—— Andrea della (1435-1525), sculptor, altarpiece in the Osservanza, [300].
Robert of Geneva, Cardinal Archbishop of Cambrai, commands the papal army, [54];
his sack of Cesena, [58];
elected pope, or antipope, as Clement VII., [62];
supported by Giovanna of Naples, [63];
St Catherine’s description of his character, [63], [64].
Robert of Anjou, King of Naples, [289].
Rustici, Francesco (Rustichino), painter (died in 1626), [124], [162], [283].
Rosselli, Matteo, painter (1578-1650), picture at San Gimignano, [360].
Rossellino, Bernardino, sculptor and architect (1409-1464), probably designed the Palazzo delle Papesse, [252].
S.
Sacchini, Enea, [214].
Salimbeni, family of the, [2], [5];
their feud with the Tolomei, [24], [25];
their turbulent conduct, [30], [31], [32], [33];
in arms for the Emperor, [33], [34];
are factious against the burghers, [37];
plot to seize Siena, [39];
are expelled, [40];
their friendship with St Catherine, [50], [59];
lead rising against the Milanese supremacy, [68];
their palace, [290]; love stories connected with them, [290], [291].
Salimbeni, Agnolino di Giovanni, friend of St Catherine, [50].
—— Arcangiolo, painter (latter part of Cinquecento), [124], [197], [202], [262].
—— Anselmo, hero of a novella, [290], [291].
—— Cangenova, [291].
—— Cione, [50].
—— Francesco, [68].
—— Giovanni di Agnolino, ambassador to the Emperor, [27];
counsels moderation, [27], [28];
is Podestà of Montepulciano, [29];
accidentally killed, [30].
—— Reame, [32], [291].
—— Niccolò, [32], [33].
—— Salimbene, [13].
—— Ventura di Arcangiolo, painter (end of sixteenth century), [124], [167].
Salvani, Provenzano, ambassador to Manfred, [11];
influential in the Republic, [11], [12], [13];
Podestà of Montepulciano, [18];
the ruling spirit in Siena, [19];
his act of humility, [19];
is killed at Colle, [20];
referred to, [131], [283].
Salvetti, family of Noveschi, [80].
—— Paolo, [81].
Salvi, Giulio, beheaded for treason, [231].
—— Ottaviano, Proposto, beheaded, [231].
Salvini, Luca, [226].
Salvucci, family of the, factious in San Gimignano, [328], [329], [333], [337-339], [340], [345].
San Gimignano, its appearance, [324], [325];
its origin, [325], [326];
early history of, [326], [327];
wars with Volterra, [328];
factions and change of government, [328], [329];
Santa Fina of, [329], [330];
follows the fortunes of the Guelfs, [331];
its golden age, [332];
San Bartolo and Dante at, [333], [334];
its wars with Volterra and hostility to Henry VII., [334];
its poet, [334], [335];
the conspiracy of the Baroncetti, [335], [336];
trouble with Florence, [336];
first submission to Florence, [337];
the factious of the Ardinghelli and Salvucci, [337-339];
appeal of its poetic chronicler, [339];
final submission to Florence, [340-342];
under Florentine rule, [342];
its painters and famous men, [342], [343];
its walls and towers, [344];
the Collegiata or Pieve, [345-351];
the Palazzo Comunale, [351-354];
other palaces and towers, [354], [355];
Sant’ Agostino of San Gimignano, [356-360];
San Pietro and Santa Chiara, [360];
the Spedale di Santa Fina, [360], [361];
San Girolamo and San Jacopo, [361];
the Porta della Fonte, [361];
other churches and buildings, [362], [363];
Cellole, [363];
the Rocca di Montestaffoli, [363], [364];
a day of festa at the Town of the Beautiful Towers, [364], [365].
Sano di Matteo, sculptor and architect (working from 1392 to 1434), designed the Loggia di Mercanzia, [247].
—— di Pietro, painter (1406-1481), [109];
his pictures in the Istituto di Belle Arti, [111], [113];
frescoes in the Palazzo Pubblico, [139], [147];
other works by him in Siena, [251], [258], [271], [293];
his pictures in the Osservanza, [299], [300].
Sansedoni, Frate Ambrogio, [305].
Saracini, family of the, [2], [37];
lead rising against the Riformatori, [41];
take part in riot in the Campo, [130];
their palace, [248-251].
—— Alessia, associate of St Catherine, [47], [62], [66], [204].
—— Ippolito, hero of a novella, [291].
—— Marcello, murdered, [98].
—— Piero di Duccio, podestà of San Gimignano, [336].
—— Sapia, the Dantesque legend of, [20], [22].
Savini, Nanni, gives Belcaro to St Catherine, [303].
Saviozzo. See Forestani.
Savonarola, Fra Girolamo, reforms the convent of Santo Spirito at Siena, [268], [281];
his preaching at San Gimignano, [350], [351], [362].
Scotti, family of the, [41], [130].
Senius, legendary founder of Siena, [1], [2].
Sermini, Gentile, novelist, [291].
Schiatte Maggiori, the, [2], [31].
Sigismund, Roman Emperor (Luxemburg), [71], [72], [158], [270].
Signorelli, Luca, painter (1441-1523), [115], [118], [119], [202], [248];
his frescoes at Monte Oliveto Maggiore, [317], [320], [321].
Segna di Tura, painter (working in the early years of the Trecento), [103], [104], [105].
Sfondrato, Francesco, [218], [274].
Siena.
Accademia di Belle Arti. See Istituto.
S. Agostino, [265], [266].
Archivio di Stato, [268].
S. Barbara, [295].
Baptistery. See San Giovanni di Siena.
S. Bernardino, [285], [286].
Biblioteca Comunale, [291], [292].
Campansi, [293].
Campo, [126-132].
Carmine, [261], [262].
Casato, [266].
Casino de Nobili. See Loggia di Mercanzia.
S. Caterina (House and Oratories of), [191-198].
Castello Vecchio, [248], [258], [261].
Cimitero della Misericordia, [266], [317].
Consuma, Casa della, [292], [293].
S. Cristofano, [289].
Croce del Travaglio, [246].
Duomo, [149-170].
S. Domenico, [201-208].
Fontebranda, [190].
Fonte Gaia, [126], [127].
Fontegiusta, [293], [294].
Fonte Nuova, [292].
S. Francesco, [284], [285].
S. Giacomo in Salicotto, [276].
S. Giorgio, [282].
S. Giovanni di Siena, [180-183].
S. Giovanni in Pantaneto, [282].
S. Girolamo, [277].
Istituto delle Belle Arti, [103-124].
—— dei Sordo-muti, [261].
Libreria del Duomo, [170-176].
Loggia di Mercanzia, [247].
Loggia del Papa, [275], [276].
S. Maria degli Angioli, [281].
S. Maria Assunta, [149-170].
S. Maria delle Nevi, [292].
S. Maria di Provenzano (of the Visitation), [283], [284].
S. Maria dei Servi (of the Conception), [277], [278].
S. Martino, [276].
Mercato, [148].
Opera del Duomo, [176-180].
Palazzo Bichi, [289].
—— Buonsignori, [257].
—— Chigi, [254].
—— Fortegueri, [252].
—— Petrucci, [248].
—— Piccolomini dei Papeschi (del Governo), [267-275].
—— Piccolomini delle Papesse, [251], [252].
—— Marsili, [252].
—— Pecci (del Capitano), [254], [257].
—— Pubblico (Comunale, or de’ Signori), [132-148].
—— Reale, [257].
—— del Rifugio, [278].
—— Salimbeni, [290], [291].
—— Saracini (Marescotti), [248-251].
—— Spannocchi, [290].
—— Tolomei, [289].
—— Turchi (de Diavoli), [295].
—— Ugurghieri, [266].
Vecchio del, [290].
S. Pietro Ovile, [286].
S. Pietro alle Scale, [258].
Porrione, [266].
Porta Fontebranda, [302].
—— Camollia, [294], [295].
—— S. Marco, [262].
—— Ovile, [240], [292].
—— Pispini, [281].
—— Romana, [278], [281].
—— Salaia, [247].
—— Tufi, [266].
Postierla, Piazza, [253], [254].
Pozzo della Diana, [262].
Salicotto, [276].
S. Quirico, [261].
S. Sebastiano in Valle Piatta (degli Innocenti), [188].
—— in Camollia, [293].
S. Spirito, [281], [282].
Stalloreggi, [258], [261].
Torre di S. Ansano, [261].
—— de’ Forteguerri, [252].
—— del Mangia, [132], [135].
—— Miganelli, [289].
Sixtus IV., Pope (Francesco della Rovere), [74], [272].
Simone Martini, painter (circa 1285-1344), his style, [104];
his frescoes in the Palazzo de Signori, [135-137]; picture by him in Sant’Agostino, [265], [266];
imitation of his manner, [286].
Sorri, Pietro, painter (1556-1622), [124], [168], [197].
Sozzini, Alessandro, diarist of the siege, [218], [219], [222], [224], [225], [226], [227], [228], [232], [234], [235], [236], [239], [241].
—— Bartolommeo instrumental in the return of the Noveschi, [78];
Captain of the People, moves to reduce the four Monti to one, [272].
—— Fausto, [282].
—— Lelio, [282].
—— Ottavio, [226].
Spannocchi, Ambrogio, [290].
—— Fabio, [242].
Spinello Aretino, painter (1333-1410), pictures in the Istituto di Belle Arti, [108];
frescoes in the Sala di Balìa, [143], [144].
Stefano di Giovanni, “Sassetta,” painter (died in 1450), [109], [110], [300].
Strozzi, Benedetto di Giovanni, his judicial murder of the Ardinghelli, [338].
Strozzi, Piero, vicar-general of France in Siena, [232], [233];
his defeat at Marciano, [235], [236], [239], [240], [301].
T.
Taddeo di Bartolo, painter (1363-1422), his works in Siena, [108], [141], [142], [180], [187], [277], [284];
at San Gimignano, [345-347], [351], [353].
Tagliacozzo, Battle of, [19].
Talamone, Port of, purchased by Siena, [23];
Urban V. received at, [30];
Charles IV. demands possession of, [33];
St Catherine negotiates with Gregory XI. concerning, [58], [59];
represented in a fresco by Ambrogio Lorenzetti, [140];
occupied by Andrea Doria, [212];
retained by Spain as part of the Praesidia, [243];
Dante’s reference to it in the Purgatorio, [262].
Tavolette di Biccherna e di Gabella, [269-275].
Tino di Camaino, architect and sculptor (died in 1336), [99], [134], [162].
Tini, Fra Niccolò, prior of Lecceto, [306-308].
Tournon, Cardinal de, [224].
Todeschini, Nanni, brother-in-law of Pius II., received into the Monte del Popolo, [72].
Todeschini, family of the, declared popolani, [72]. See Piccolomini.
Toldo, Niccolò di, his execution, [48-50];
scene of, [148];
Bazzi’s representation of, [204].
Tegliacci, Niccolò di Ser Sozzo, miniaturist, [275], [350].
Tamagni, Vincenzo, painter (1492-1533), [342], [343], [350], [356], [357], [361], [362].
Tolomei, family of the, [2], [5]; their palace, [6], [9];
head the Guelfs, [19];
factious against the Salimbeni, [24], [25], [30], [37], [48], [68], [289];
their palaces, [289].
—— Beato Bernardo, [23], [26];
Bazzi’s picture of, [239], [266], [289];
his life and work, [315], [316], [317].
—— Cavolino, the slayer of Provenzano Salvani, [20].
—— Giacomo, converted by St Catherine, [47].
—— Girolamo, ambassador to Charles V., [220];
his report, [222];
is poisoned, [224].
—— Guccio, [27].
—— Lelio, patriotic address to the Senate, [222];
is poisoned, [224].
—— Mino, father of B. Bernardo, [315].
—— Nello di Mino, Podestà of San Gimignano, [353].
Torrita, Victory of the Sienese at, [29];
represented in the Palazzo de’ Signori, [137], [138].
Troghisio, Francesco, Podestà of Siena at Montaperti, [14].
Tura, Agnolo di chronicler, his account of the Black Death, [25], [26].
Turchi, Biagio, murdered, [76].
Turino di Sano, sculptor (early Quattrocento), [101], [181], [182].
Turino, Giovanni di, sculptor (1384-1455), [101], [142], [160], [181], [182].
Twelve. See Dodicini.
Twenty-four, Magistracy of the, [7], [8], [9], [10], [12], [13], [14], [20].
U.
Uberti, Farinata degli, [10], [12].
—— Fazio degli, [26].
Uberti, Neri degli, Podestà of San Gimignano, [329], [331].
Ufficiali sopra l’ornato, [246], [247], [267], [286].
Ugurghieri, family of the, [266].
—— Giovanni, fell at Montaperti, [159].
Urban V., Pope (Guillaume Grimoard), at Talamone, [30].
—— VI., Pope (Bartolommeo Prignani), elected Pope, [59];
makes peace with Florence, [60];
his character, [61];
his relations with St Catherine, [62], [63];
his struggle with the Clementines, [63], [64];
St Catherine’s last letter to him, [65];
he is assailed by the Romans, [65];
his fall, [65].
Urbano da Cortona, architect and sculptor (died 1504), [102], [157], [158], [159], [160], [171] (note), [192], [252], [284].
V.
Vaga, Perino del, painter (1500-1547), [159].
Valori, Filippo, [81].
Vanni, Francesco, painter (died in 1609), [124], [162], [197], [204], [205].
——. See Andrea and Lippo.
Vasari, Giorgio, [116], [117], [123], [124], [258], [262], [265], [317], [320].
Vasto, Marchese del, [217].
Vecchietta, Il (Lorenzo di Pietro), architect, painter, and sculptor (1412-1480), [101], [102], [109], [110], [119], [139], [247].
Venafro, Antonio da, secretary of Pandolfo Petrucci, [84];
urges the murder of Niccolò Borghesi, [85];
messenger to Cesare Borgia and represents Pandolfo at La Magione, [86];
interviewed by Machiavelli, [91];
his answer to a Pope, [92];
secures the succession of Borghese Petrucci, [93];
by whom he is banished, [94].
Ventura, Niccolò di Giovanni, Sienese chronicler, on the Battle of Montaperti, [16].
Venturini, Camillo, avenges the death of his father, [78].
—— Lorenzo di Antonio, [78], [273], [274] (note).
Vettori, Francesco, his letters to Machiavelli on the rout of Camollia, 215 (and note).
Vico, the Prefetto di, [40].
Vieri, Giulio, [242].
Vigne, Fra Raimondo delle, confessor and biographer of St Catherine, [47];
her letter to him, [48-50];
he goes to John Hawkwood, [52];
at Avignon, [56], [57];
St Catherine appeals to Gregory XI. through him, [58];
he is suspected by the Sienese, [59];
St Catherine’s letter to him on the Florentine tumult, [60];
at Rome, [62];
St Catherine rebukes his pusillanimity, [64];
her last letter to him, [66];
his report of her reception of the Stigmata, [197];
picture of, by Francesco Vanni, [205];
referred to, [207], [208].
Villani, Giovanni, Florentine chronicler, [11] (note), [16] (note), [331].
—— Matteo, Florentine chronicler, [339], [340], [363].
Villari, Pasquale, [16] (note), [91].
Visconti, Bernabò, tyrant of Milan, relations with St Catherine, [51];
dethroned, [67].
—— Giovanni Galeazzo, tyrant of Milan, attempts the conquest of Italy, [67];
made Duke of Milan, [68];
obtains the suzerainty of Siena, [68];
dies, [68].
Vito di Marco, sculptor (late Quattrocento), [156], [157].
Vittorio Emanuele II., frescoes concerning him in the Sala Monumentale, [144].
Volterra, Bishops of, [313], [326-331].
W.
Wenceslaus, King of the Romans (Luxemburg), [68].
Z.
Zuccantini, Claudio, Captain of the People, [220];
his oration in the Duomo, [220-222].
PRINTED BY
TURNBULL AND SPEARS,
EDINBURGH
FOOTNOTES:
[1] Rondoni (Sena vetus, p. 53) notes that, in contrast to Florence, there was no distinction between the Greater and Lesser Arts in Siena.
[2] Printed in the Archivio Storico Italiano, series III. vol. xxii.
[3] Siena is still divided into terzi or thirds; the Terzo di Città, the Terzo di San Martino, the Terzo di Camollia.
[4] Rondoni, op. cit. p. 60.
[5] Letter of August 11th, 1259, still preserved in the Archivio di Stato of Siena, quoted by Paoli, La Battaglia di Montaperti, p. 13.
[6] The documents cited by Paoli prove conclusively that the story, told by Giovanni Villani, of Farinata contriving that the Germans should be annihilated at Santa Petronilla and the royal standard lost, in order that Manfred might be induced to send a larger force, has no historical foundation. Neither is it a fact that the Sienese were forced to induce the Florentines to resume hostilities because the Germans had been hired for only three months.
[7] The Sienese accounts of the battle by Domenico Aldobrandini and Niccolò di Giovanni Ventura (in which, says Prof. d’Ancona, the narrative has “una grandezza veramente epica”) are in Porri’s Miscellanea Storica Senese; for the Florentine version see Villani, vi. 75-79, and Leonardo Bruni, Istoria Fiorentina II. (vol. i. pp. 215-225 in the edition of 1855). Cf. Villari, I primi due secoli della Storia di Firenze, ch. iv., and especially C. Paoli, La Battaglia di Montaperti, already referred to. Il Libro di Montaperti, edited by Prof. Paoli (Florence, 1889), is “the only official document of Florentine source which remains to us of that war.”
[8] Purg. xiii. 115-123.
[9] Inf. xiii. 120; Purg. xiii. 128.
[10] J. A. Symonds.
[11] Assempro II.
[12] Agnolo di Tura, Cronica Senese, 122-124.
[13] Malavolti, ii. 7. p. 132.
[14] Neri di Donato, Cronica Senese, 202-206.
[15] In the continuation (wrongly ascribed to Agnolo di Tura) of the Cronica Senese.
[16] Op. cit. 294.
[17] Leggenda minore, i. 12.
[18] Augusta Drane, vol. i. p. 83. I think that this author unquestionably deserves to be called the best of Catherine’s modern biographers; but the reader must be warned against her historical inaccuracies and her treatment of some of the Saint’s political letters.
[19] Raimondo da Capua, Leggenda, p. 226.
[20] I.e., since his first Communion—that at least seems the more obvious meaning of la quale mai più aveva ricevuta.
[21] Letter 273.
[22] Letter 272.
[23] Letter 11.
[24] Letter 28.
[25] Letter 29.
[26] Letter 109.
[27] Letter 140.
[28] Letter 168.
[29] Letters 185, 196, 206, 209, 218, 229. She has no thought of the Pope’s return as a temporal sovereign. (Cf. letter 370.)
[30] Letter 207.
[31] Letter 240.
[32] Letter 247.
[33] Letter 252.
[34] Letters 270, 267. These have obviously been transposed in chronological order.
[35] Letter 285.
[36] Letter 291.
[37] Letter 295.
[38] Letter 303.
[39] The Dialogue, Il Dialogo della Serafica Santa Caterina da Siena, will be found in Gigli, vol. iv., and has been translated (somewhat freely) into English by Mr Algar Thorold. To the Dialogue and the Letters, we should add the Trattato della Consumata Perfezione and a short collection of prayers, also printed in Gigli, L’opere, etc., vol. iv.
[40] Letter 306.
[41] Letter 310.
[42] Letter 317.
[43] Letter 349.
[44] Letters 350, 362, 357, 372.
[45] Letter 370.
[46] Letter 373.
[47] Barduccio’s letter to a nun at Florence, describing every detail of Catherine’s death, will be found in the Appendix to the Leggenda.
[49] Pastor, II., p. 147.
[50] Armstrong, Lorenzo de’ Medici, p. 178.
[51] Diari Senesi, 836, 837.
[52] Zdekauer, Lo Studio di Siena nel Rinascimento, pp. 119-124.
[53] Letter of August 18th, 1500, published by F. Donati in Miscellanea Storica Senese, i. 7.
[54] Letters of January 6th, 8th, 10th, and 13th from Machiavelli to the Signoria. In the Legazione al Duca Valentino (vol. vi. of edition cited).
[55] In Lisini, Relazioni tra Cesare Borgia e la Repubblica Senese, and elsewhere. It is dated January 27th, and had probably been delivered (though this has been questioned) before Pandolfo left.
[56] In Mondolfo, Pandolfo Petrucci, p. 99.
[57] Niccolò Machiavelli e i suoi Tempi, i. pp. 502, 503.
[58] The letters of this Legation in vol. vii. of edition cited.
[59] By a decree of the Balìa on September 14th, 1509; but this was not quite such a recognition of his dynasty as might appear, because a similar exception was made in 1518 (though only in their own homes) for some of the Piccolomini.
[60] La Sculpture Florentine, i. p. 134.
[61] M. Reymond, op. cit., ii. p. 46.
[62] Duccio is last referred to as alive in a document of June, 1313, and in 1318 his widow Taviana is described as uxor olim Duccii pictoris. See A. Lisini, Notizie di Duccio Pittore, p. 33. On Duccio’s characteristics as a painter, the best thing is written by Mr Berenson, Central Italian Painters, pp. 18-42.
[63] i.e. The officials of the Gabella; see Chapter IX.
[64] The text of the Bull and Enea Silvio’s letter in L. Banchi, Il Piccinino nello Stato di Siena e la Lega Italica (1455-56), in the Archivio Storico Italiano, Series IV., vol. iv., pp. 56-58. See also next chapter, pp. 144-147.
[65] Berenson, op. cit. p. 56.
[66] Italian Painters, i. p. 158.
[67] Berenson, op. cit. p. 56.
[68] That is to say, if the Matteo Balducci who is mentioned as Pinturicchio’s pupil in a document of January 1509 is the same as the Matteo Balducci who in 1517 became Bazzi’s pupil for six years. Frizzoni (L’Arte Italiana del Rinascimento, p. 183) holds that they are two different persons.
[69] Miscellanea Storica Senese, v. 11, 12.
[70] See V. Lusini, Storia della Basilica di San Francesco, pp. 99-101.
[71] Diari, 809. The Cardinal mentioned is Francesco Piccolomini.
[72] See A. Lisini, Misc. Stor. Senese, iv., 5, 6. Mr Heywood’s admirable little book, Our Lady of August and the Palio of Siena, deals exhaustively with this aspect of the past history and present life of the Sienese. The horse races of the Campo had originally nothing to do with the contrade, but were run by the Republic. Foreign nobles, even reigning sovereigns, entered horses, no less than did Sienese notabilities. On August 15th, 1492, the palio was won by a horse belonging to Cesare Borgia; but because his jockey (fantino) had won by a trick of questionable legality, the Signoria made some difficulty about giving him the prize—apparently at the appeal of the representative of the Marquis of Mantua whose horse had come in second. (See Cesare’s letter in Lisini, Relazioni tra C. Borgia e la Repubblica Senese, pp. 11, 12.)
[73] See A. Lisini, Chi fu l’architetto della Torre del Mangia, in the Misc. Stor. Senese, II., 9, 10.
[74] The fullest account of these frescoes is contained in Milanesi, Commentario alla Vita di Ambrogio Lorenzetti, Vasari I. pp. 527-535. Apart from the great beauty of the individual figures, the spiritual power and imaginative insight of the whole conception are surely worthy of the century of Dante and Petrarch. But for a very different appreciation, see Mr Berenson, op. cit., pp. 50, 51.
[75] L. Banchi, Il Piccinino nello Stato di Siena, etc., loc. cit., pp. 226-230; Malavolti, iii. 3, pp. 51b, 52.
[76] Documenti per la Storia dell’ Arte Senese, i. p. 188.
[77] Not to be confused with the more famous Gregorio da Spoleto, Ariosto’s master, who held a chair here in the latter part of the fifteenth century.
[78] Purg. xii 10-93.
[79] Nuovi Documenti per la Storia dell’Arte Senese, p. 389.
[80] Mr R. H. Hobart Cust (to whose excellent Pavement Masters of Siena I am indebted for many of these dates and authorships of the pavement designs) points out that the Cimmerian Sibyl is the one intended.
[81] The Lupa and Marzocco shaking hands in front of the tablet refers to the alliance between Siena and Florence concluded in the year 1483, in which this Sibyl was laid down. In Allegretto’s Diari Senesi, under June 16th, 1483, we read: “The League was proclaimed on a chariot between the Signoria of Siena and the Florentines, with honourable conditions, according to what Giovan Francesco called Il Moro, the trumpeter of the Signoria, said. God grant it be true; for I cannot believe it!” (Diari, 815).
[82] We can measure the proportionate value attached to the designing and executing of these works from the fact that in the case of the painter Matteo, who only designed and did not execute, the remuneration was four lire, whereas Federighi, who both designed and executed his Erythraean Sibyl, received nearly 650 lire. See Cust op. cit. pp. 41, 47.
[83] Op. cit. p. 152.
[84] See Pietro Rossi, L’Arte Senese nel Quattrocento, p. 38.
[85] Folgore, translated by J. A. Symonds.
[86] See the fine sonnet sequence entitled Niccola Pisano in Rime e Ritmi. The sculptor is said to have copied his Madonna from the Phaedra on the antique sarcophagus used as a tomb for the Countess Beatrice.
[87] There is an eloquent appreciation of the pulpit in Mr F. M. Perkins’ Giotto, pp. 8-13.
[88] V. Lusini, Il San Giovanni di Siena, p. 23 (note). Giacomo was paid 52 golden florins and 34 soldi for his work.
[89] Pastor, vi. p. 201. There appears to be absolutely no foundation for the aspersions made by Gregorovius and other writers upon the moral character of this really admirable personage. Cf. op. cit., p. 199 (note).
[90] Nuovi Documenti, pp. 362, 364-368, 560.
[91] The bas-relief of St John Evangelist, over the altar to the right of the entrance, is the mediocre work of some sculptor of the Quattrocento, possibly Urbano da Cortona.
[92] See the document in Milanesi, Vasari III., pp. 519-522.
[93] Cf. G. W. Kitchin, Pope Pius II., p. 36.
[94] Historia Friderici III. Imp., p. 73.
[95] See Misc. Storica Senese, iv. 7-8.
[96] The question is well discussed in Miss E. March Phillipps’ monograph on Pinturicchio, pp. 116-123.
[97] Anonymous Chronicle existing in the Archivio di Stato and the Biblioteca Comunale, quoted by Lisini, Notizie di Duccio, p. 5.
[98] Berenson, Central Italian Painters, p. 117.
[99] Op. cit., p. 41 (note).
[100] In the Appendix to V. Lusini, Il San Giovanni di Siena, there are a number of interesting letters about the progress, etc., of the work, from Ghiberti to the Operaio del Duomo and Giovanni di Turino, and from Giacomo to the Signoria.
[101] Cf. M. Reymond, op. cit., II. p. 98.
[102] Cf. Documents concerning the authorship of this fresco in Lusini, op. cit. p. 60 (note).
[103] See Alessio, Storia di San Bernardino, p. 60 (and note).
[104] Letter 321.
[105] Leggenda minore, i. 2.
[106] Rondoni, Tradizioni popolari e leggende, etc., p. 150.
[107] Nuovi Documenti, pp. 240, 241.
[108] Documenti, II. pp. 326, 339; Nuovi Documenti, p. 239.
[109] Leggenda, pp. 205, 206.
[111] This does not refer to Bazzi’s fresco, but to an earlier picture figured in Gigli, I. p. 24; possibly Andrea di Vanni is meant, as it closely resembles his work.
[112] See the Deliberations of the Balìa and the Concistoro for July 21st and 22nd, in Pecci, Memorie, etc., II. pp. 211-213.
[113] Letter of August 5th, 1526, in Machiavelli, Lettere familiari (Opere, edition cited, vol. viii. p. 208). In answer to Machiavelli, Vettori gives further details in a letter of August 7th (loc. cit. pp. 210-214); “I believe,” he says, “that on other occasions it has happened that an army fled at shouts, but that it should fly for ten miles, without anyone pursuing it—this I do not believe has been ever read nor seen.” According to the Sienese accounts the papal army numbered some 18,000 men and lost more than 1000, while 150 Sienese were killed. Vettori says that 400 foot soldiers and 50 light cavalry issued out of Siena and put to flight 5000 infantry and 300 horsemen; but he evidently refers only to the sally from the Porta Fontebranda.
[114] Sozzini, Diario, p. 24.
[115] Sozzini, op. cit. pp. 26, 27.
[116] In the sonnet written in the name of the Mangia of the Tower of the Campo (the figure, removed in 1780, that sounded the hours, a kind of Sienese Pasquino) to the painter Riccio. Appendix to Sozzini, Document xiv.
[117] I have given this in full as a specimen of these donations of which we hear so often in the story of Siena. No less characteristic is the reply of the officiating canon, Antonio Benzi: “Your great and profound humility, Most Illustrious Lords, is manifestly founded on Faith, Hope and Charity. Faith is shown by the desire of uniting yourselves with our most just Saviour, receiving into your souls His most holy Body; Hope is shown by the consigning and restitution of the keys of your City to the most glorious Queen of the Heavens; Charity, by the vow of marrying the maidens in perpetuity by your free Republic. We, albeit unworthy of so great an office, in the name of Blessed Christ and of His Immaculate Mother, accept your vows and oblations. We remind you that Faith without works is said to be dead; that whoso trusteth in God with pure heart, will be immovable as Mount Sion; and that Charity unites us with God. Therefore have living Faith, firm Hope and ardent Charity; to the end that you may obtain your desire and that your City may be preserved in true liberty to the honour of God and of the Immaculate Virgin Mary, our Advocate and of all the faithful Christian people.” (Appendix to Sozzini, Diario, Documents vi. and vii.)
[118] See the Genealogical Table of the Family of Pius II.
[119] La Cacciata della Guardia Spagnola da Siena, pp. 522, 523. The “twentieth hour” means four hours before sunset, or about four o’clock in the afternoon.
[120] Diario, pp. 89, 90.
[121] Sozzini, p. 93.
Cardinale, Cardinale,
Tu ci rechi poco sale;
Siena, Siena, verrà il medico,
E ti guarirà dal farnetico.
Quoted in Rondoni, Siena nel secolo xvi. p. 250. For other prophetic doggerel of the same kind ascribed to Brandano, see Olmi, I Senesi d’una volta, p. 270. Brandano died in Siena during the siege, in May 1554.
[123] Giornale dell’ Assedio della Città di Montalcino printed in the Archivio Storico Italiano, Appendix, vol. viii.
[124] Malavolti, iii. 10, p. 160b.
[125] Ibid. p. 161; Sozzini, pp. 157, 158.
[126] In this and subsequent quotations from Montluc I have availed myself of Cotton’s translation of the Commentaries.
[127] Sozzini, Diario, p. 307.
[128] Op. cit. p. 317.
[129] Trattenimenti, i. pp. 8-10. He adds hideous details of their mutilation at the hands of the Spaniards, which have too frequently been quoted; Sozzini (who tells us that on one occasion the Spaniards succoured the fugitives, p. 376) mentions once that some contadini had their noses and ears cut off, but neither he nor Montluc gives any other hint of the peculiar hideousness and atrocity of Bargagli’s version.
[130] See Mr Montgomery Carmichael’s excellent and picturesque account of the Spanish Praesidia, in In Tuscany, pp. 283-314.
[131] Nuovi Documenti, p. 76.
[132] Nuovi Documenti, p. 75. These officers were first appointed in 1413.
[133] Nuovi Documenti, p. 201. She says that she has had the house designed by uno valentissimo maestro; but does not name him. See also P. Rossi,L’Arte Senese nel Quattrocento, pp. 27-29.
[134] Bargagli quoted by A. Marenduzzo, Veglie e Trattenimenti Senesi, p. 14.
[135] The Captain of War—afterwards the Senator—will not be confused with the Captain of the People. The one was an alien noble, the other a Sienese burgher.
[136] Diari Senesi, 775, 776.
[137] Purg. v. 133-136.
[138] Vasari.
[139] V. Lusini, Il San Giovanni di Siena, p. 14.
[140] “That vain folk which hopes in Talamone, and will lose more hope there than in finding the Diana,” Purg. xiii. 151-153. The Diana was a subterranean stream supposed to exist under Siena for which, in 1295, the General Council of the Campana decreed that the search should be undertaken.
[141] Documenti, ii. p. 337; cf. Allegretto, Diari, 773. Notice the title Spectabilità; in a less democratic city than Siena, they would have been Magnificence. Incidentally, we may observe (a point frequently missed by English writers, especially of fiction dealing with the Italian Renaissance) that Magnificence was a much less pretentious title at the end of the Quattrocento than it sounds to us now, being little more than the equivalent of “Your Worship” or “Your Honour” (though also applied to ambassadors); while Excellence was, until the middle of the sixteenth century, reserved for quasi-independent potentates, such as the Duke of Ferrara or the Marquis of Mantua, ruling fiefs of the Church or Empire.
[142] See pp. [88], [89]. In reading these documents, it should be borne in mind that the Sienese and Florentine year (but not the Roman) began on March 25th. The same rule applies to the dates on the Tavolette of the Biccherna and Gabella.
[143] Rondoni, Sena Vetus, p. 37. For further information upon the Tavolette the reader may be referred to Mr W. Heywood’s charming little book, A Pictorial Chronicle of Siena, to which I am indebted.
[144] Cf. Heywood, op. cit. p. 69.
[145] “The fury of arms having cooled down on every side, the Pope [Paul II.] easily found means to conclude an universal peace between the powers of Italy, wherein was named the Republic of Siena, in the name of which it was accepted and ratified by Messer Niccolò Severini, Sienese orator in Rome, in the month of May 1468.” Malavolti, iii. 4, p. 70 b.
[146] Diari Senesi, 813. The Cardinal Malfetta is G. B. Cibo, afterwards Innocent VIII., cf. p. 76.
[147] Diari, 815, 816. The Lorenzo di Antonio mentioned is the Venturini who was executed in 1486 (see [p. 78]).
[148] Cf. Sozzini, Diario, pp. 23, 24 (where, however, Gabella is confused with Biccherna), and Heywood, op. cit. pp. 87, 88.
[149] For various documents touching these votive pictures after the Battle of Camollia, see Nuovi Documenti, pp. 434, 435.
[150] Nuovi Documenti, p. 245.
[151] Dante, Purg. xi. 109-111.
[152] See Gigli, La città diletta di Maria, pp. 29-35. The houses of Provenzano Salvani’s family were in this part of the city—hence the name.
[153] See the Deliberation of the Concistoro for July 2nd, 1460, pro porta Sancti Francisci, in Lusini, Storia della Basilica di San Francesco, p. 123 (note).
[154] Nuovi Documenti, pp. 222-224. The Ufficiali sopra l’Ornato della Città are proposing to make a fountain on the Poggio de’ Malavolti.
[155] The imposing tower at the back of the Palazzo Tolomei, at the beginning of the Via dei Termini, is the Torre Miganelli or Castelli, in which the public bells were hung.
[156] See the Miscellanea Storica Senese, iii. 4, p. 59.
[157] The story of Anselmo and Angelica is inserted in the Annali Senesi under 1395, and is told by Sermini and Ilcino. That of Ippolito and Cangenova (which from the mention of Messer Reame should, if historical, be referred to the same epoch) is related by Olinda in Bargagli’s Trattenimenti.
[158] The sole value—and that is not much—of Fortini’s work lies in such little transcripts from Sienese life in the Cinquecento. The rest is sheer pornography, and the man’s life was as vile as his novels are filthy.
[159] Cf. Alessio, op. cit. pp. 103, 104.
[160] Sketches and Studies in Italy and Greece, iii. p. 68.
[161] Landucci, Sacra Leccetana Selva, pp. 76-79.
[162] Assempro xl. It was this Frate Bandino who founded the convent of Sant’ Agostino in Siena.
[163] Assempro xli. is the life of Niccolò Tini.
[164] Letter 326, written from Rome, December 15th, 1378.
[165] Mr Heywood, in his account of these frescoes (The Ensamples of Fra Filippo, pp. 227, 228), appears to have missed this, the essential point of the allegory.
[166] Assempro xxiv.
[167] Nuovi Documenti, pp. 202, 203.
[168] For further details, see Antonio Canestrelli’s admirable monograph, L’Abbazia di San Galgano.
[169] Oraffi (Vita del B. Bernardo Tolomei, pp. 44-72) gives what is said to be the text of this homily. It may, possibly, be a genuine work of the Saint, but as it speaks of “the schism arisen in the Sacred Empire, now many years ago, between Frederick of Austria and Ludwig of Bavaria,” it could not have been delivered on this occasion.
[170] Frizzoni, op. cit. p. 115.
[171] Cf. Frizzoni, op. cit. p 117.
[172] Commentarii, x. pp. 482-484.
[173] Storia della Repubblica di Firenze, i. pp. 389, 390.
[174] A. C. Swinburne, Relics.
[175] There are two hotels in San Gimignano: the Albergo Centrale and the Leone Bianco. The present writer’s experience has been confined to the Albergo Centrale, which is pleasantly situated and excellent for so small a town.
[176] Pecori, Storia della Terra di San Gimignano, p. 41.
[177] Coppi, Annali, memorie, etc., pp. 108-114. I have spared my readers some of the details of “cette existence d’expiation.” Not many of us can look upon these things with the eyes of M. J.-K. Huysmans, in his Sainte Lydwine de Schiedam: “Elle fut, en somme, un fruit de souffrance,” he writes of Lydwine, whose life was very like a prolonged version of Fina’s, “que Dieu écrasa et pressura jusqu’à ce qu’il en eût exprimé le dernier suc; l’écale était vide lorsqu’elle mourut; Dieu allait confier à d’autres de ses filles le terrible fardeau qu’elle avait laissé; elle avait pris, elle-même, la succession d’autres saintes et d’autres saintes allaient, à leur tour, hériter d’elle” (p. 291).
[178] Pecori, p. 113.
[179] In May 1899, San Gimignano kept the sixth centenary of Dante’s embassy, and it was on this occasion that the real date 1300 (instead of 1299, as hitherto supposed) was discovered.
[180] Rossetti’s translation.
[181] Sonnet 33 in Navone’s edition.
[182] Cronachetta di San Gimignano, 163-171.
[183] Matteo Villani, iii. 22, 46, 55, 69: Pecori, pp. 168-171.
[184] Cronachetta, 8-21.
[185] iii. 73.
[186] The conditions of this final submission are given in full in Pecori, pp. 174-179.
[187] With the exception of the churches of Cellole and San Pietro, San Gimignano is in the diocese of the Bishop of Colle. The chief ecclesiastical dignitary of the town, the head of the Collegiata, is the Proposto or Provost—at present the learned Don Ugo Nomi-Pesciolini, whose invariable kindness and courtesy to visitors are well known to English travellers.
[188] See the list given by Mr Berenson, Florentine Painters, pp. 132-134.
[189] “The bones of a virgin lie hidden in the tomb which thou beholdest, stranger; she is the glory, the example, the guardian of her fellow-citizens. Her name was Fina; this her native land. Dost thou seek miracles? Scan what the wall and life-like statues teach.”
[190] It has been argued that the last line of the epitaph proves that the frescoes were painted not later than 1475; but this is not by any means conclusive, as the subjects had probably been settled from the beginning.
[191] So I gather from Fra Matteo and Pecori; other writers call it the Palazzo Ardinghelli.
[192] See the Confessions, i. 9.
[193] Confessions, viii. 12.
[194] Ibid. ix. 10, 11.
[195] See above, p. 330 (and note).
[196] iii. 96.
| Typographical errors corrected by the etext transcriber: |
|---|
| Piazzo del Campo=> Piazza del Campo {pg 100} |
| instarsia is the work of Fra Giovanni da Verona of 1503=> intarsia is the work of Fra Giovanni da Verona of 1503 {pg 167} |
| ike Francis of Assisi, to to have received=> ike Francis of Assisi, to have received {pg 197} |
| Ufficali sopra l’Ornato=> Ufficiali sopra l’Ornato {pg 267} |
| It walls are covered=> Its walls are covered {pg 285} |