[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.