5. The North Aisle.
The Albunean Sibyl.
This prophetess, as we gather from the label placed beneath her feet, was also styled the Tiburtine Sibyl, because she was “honoured as Divine at Tibur.” From a Christian point of view she is perhaps the best known of all the Sibyls, and the representations of her in art, still extant, are many and very varied in conception.[51] The Emperor Augustus is said to have visited her, and, as a result of her prophecy, erected the altar inscribed “ARA PRIMOGENITI DEI,” now inclosed in the Cappella Santa (or di S. Elena) of the Church of Sta. Maria Aracoeli in Rome.
She is here represented as a tall and youngish woman, with a curious pointed head-dress. In her right hand she carries an open book; while above her left shoulder, and attached by a ribbon to the neck of a small cherub, is a tablet on which are the words:
NASCETVR CHRISTVS
IN BETHLEHEM ANNVN
CIABITVR IN NAZARETH
REGNANTE TAVRO PACI
FICO FUNDATORE QVIE
TIS. O FELIX MATER CV
IVSVBERA ILLVM LACTA
BVNT
(Christ shall be born in Bethlehem. He shall be announced in Nazareth, the peaceful Taurus (the Bull) being in the ascendant, the founder of peace. Oh Happy Mother whose breast shall give him milk.)
This Sibyl was designed by Benvenuto di Giovanni del Guasta in 1483,[52] and is a fine specimen of his work; but it is not known definitely who executed this, or indeed any of the four remaining Sibyls. We read, however, that Giuliano di Biagio was in this year paid 41 lire 15 soldi for the carriage of 9,310 lbs. of marble for this work,[53] so presumably he and his assistants executed some if not all of them. 2,149 lire 35 c. were paid for the restoration of this Sibyl in 1866–69.
The Samian Sibyl.
Of this Sibyl we know nothing, and can only point out, as in the case of the Delphic and Erythraean Sibyls, that the latter of those prophetesses, though born in the Troad, made her principal abode at Samos: and that thus these three may have been one and the same person. We are told, by the label beneath her representation, that she is spoken of by Eratosthenes, a writer quoted by Lactantius, and whose work was one of the first books printed in Italy in 1465.
ALINARI PHOTO.]
[DESIGNED BY MATTEO DI GIOVANNI BARTOLI
VII. THE SAMIAN SIBYL (No. 29)
This figure is one of the most beautiful of all the ten Sibyls, and well it may be, seeing that it was designed by that delightful draughtsman and earnest artist, Matteo di Giovanni Bartoli. A slender princess, with flowing draperies, she supports with her left hand a handsomely-bound open volume. A curious and characteristic feature of Matteo’s work is evident in the charming cherub-head, with outspread wings, that clasps a girdle round her robe below the hips. Beside her on a tablet, upborne by two lion-headed figures, is the following inscription:
TV ENIM STVLTA IVDAEA
DEVM TVVM NON CO
GNOVISTI LVCENTEM
MORTALIVM MENTI-
BVS SED ET SPINIS CO
RONASTI HORRIDVM
QVE FEL MISCVISTI
(For thou, foolish Judaea! hast not known thy God, shining in the minds of men. But thou hast both crowned Him with thorns, and hast mixed for Him nauseous gall.)
At the foot of the tablet is the designer’s signature, with the date 1483. (Ill. VII.)
Matteo di Giovanni received for this design 4 lire only,[54] on May 23rd, 1483; but it cost 2,654 lire 52 c. to restore.
The Phrygian Sibyl.
Of this Sibyl also nothing is known, though she too has been confounded with the Delphic Sibyl. Most of the longer lists, however, include both. From the label designating her we learn that she prophesied at Ancyra. She is here brought before us attired in what we may suppose the artist intended to represent Phrygian or semi-Oriental dress. She holds aloft in her left hand a small book open at the words:
| SOLVS | |
| DEUS | DEVS |
| SVM ET | ALIVS |
| NON EST |
(I am the only God, and there is no other God.)
Her right hand directs attention to a tablet, on a lyre-shaped support, between which are seen half-length figures and heads of nude suppliants, apparently rising from the grave.
The inscription on the tablet runs as follows:
TVBA DE CAELO VOCEM LV
CTVOSAM EM ITET TARTARE
VM CHAOS OSTENDET DEHIS
CENS TERRA VENIET AD TRIBV
NAL DEI REGES OMNES DEVS
IPSE IVDICANS PIOS SIMVL
ET IMPIOS TVNC DEMVM IM
PIOS IN IGNEM ET TENEBRAS
MITTET QVI AVTEM PIETA
TEM TENET ITERV VIVENT
(The trumpet shall utter from Heaven a mournful sound. Yawning earth shall show Tartarean Chaos. All Kings shall come before the Tribunal of God. God Himself judging the Evil and the Good together. Then at length He will send the wicked into fire and darkness. But whosoever will keep righteousness shall live again.)
Luigi di Ruggiero (l’Armellino) and Vito di Marco are generally reputed to have devised and executed this design, but no record exists on the subject. The cost of restoration was 2,433 lire 91 c.
The Hellespontine Sibyl.
The inscription beneath the feet of this Sibyl says that she was born on Trojan soil, and was, according to Heraclides, a contemporary of Cyrus. Hence, no doubt, she also has been confused with the Erythraean Sibyl. It is very probable indeed, as we have before hinted, that time, tradition, and the varying expressions of different writers have divided the personality of that one Sibyl into several, according to the various places that she is reported to have visited.[55]
ALINARI PHOTO.]
[DESIGNED BY NEROCCIO DI LANDI
VIII. THE HELLESPONTINE SIBYL (No. 31)
The figure is a graceful one, but suggests somewhat gigantic proportions. Her hair flows over her shoulders, though partially confined by ribbons, and crowned with a jewelled diadem. In her left hand she holds a half-open book. Her robe is loosely confined by a small girdle set with gems.
On her left, a tablet is borne by two columns, seated in front of which are a Wolf and a Lion (the Marzocco), with their hands amicably clasped: an allusion perhaps to the then recent treaty between Siena and Florence.[56] The inscription on the tablet runs thus:
IN CIBVM FEL IN SITIM ACE
TVM DEDERVNT HANC
IN HOSPITALITATIS MOSTR
ABVNT MENSAM; TEMPLI
VERO SCINDETVR VELVM
ET MEDIO DIE NOX ERIT
TENEBROSA TRIBVS HORIS.
(For food gall, in his thirst they gave him vinegar, they will show this table of inhospitality. The veil of the Temple shall indeed be rent, and at mid-day there shall be black night for three hours.)
This fine design was the work of Neroccio di Bartolommeo di Benedetto Landi in 1483,[57] and is a noble specimen of his style. We do not know what he received for the work, but it is probable that it was the same sum as that given to Matteo di Giovanni. Nor, as we have seen, do we know who executed this and the adjacent designs.[58] (Ill. VIII.)
The Libyan Sibyl.
According to Pausanias, the Libyan was the oldest of all the Sibyls, and was the daughter of Zeus and Lamia. More than this nothing is known of her, but her label tells us that she is spoken of by Euripides. She is a striking figure, her black marble face, neck, hands and feet, producing a remarkable effect. She is veiled and crowned with a garland of flowers. In her left hand she grasps a small open scroll, while in her right she shows an open book with the words:
| DABIT | |
| COLA | IN VER |
| PHOS | BERA |
| ACCIPI | INNO |
| ENS TA | CENS |
| CEBIT | DORSV |
| M |
(Receiving buffets he will be silent, to blows he will give his innocent back.)
On her left is a tablet, borne by intertwined serpents, the words written upon it being:
IN MANVS INIQVAS
VENIET. DABVNT DEO
ALAPAS MANIBVS IN
CESTIS. MISERABILIS.
ET IGNOMINIOSVS.
MISERABILIBVS SPEM
PRAEBEBIT.
(He shall come into unjust hands. With impure hands they shall give stripes to God. He miserable and in ignominy will give hope to the miserable.)
Guidoccio Cozzarelli was the author of this design in 1483,[59] but here again there exists no record of the sum paid for it. We may suppose though that these designs were all paid for at about the same rate.[60] The expense of its restoration was 2,352 lire 16 c.
With the examination of the Libyan Sibyl, we find ourselves again at the Western end of the Church, and must betake ourselves back to—