[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.