the Sienese solemnly placed their city under the protection of the Virgin, and vowed, if victorious, to regard her as the Sovereign Lady of the land, from whom they would henceforth hold it as her vassals. After their triumph they came to lay their spoils at her feet, and had her painted as Our Lady of Victory, throned like a queen, with the Infant standing on her knee. When Duccio, some years later, finished his Madonna, he wrote beneath it: Mater sancta Dei, sis causa Senis requiei!—Give peace to Siena!—and the painting was transported, amid public rejoicings, to the cathedral. Business was entirely suspended. All the shops were closed. The archbishop, at the head of the clergy and magistrates, accompanied it with a vast procession of people, with lighted tapers in their
hands, as if around a shrine. The trumpets sounded; the bells rang; nothing could equal the enthusiasm. The picture was placed over the high altar of the church.
This was during the height of Siena’s grandeur, when the wisdom of its laws corresponded to the depth of its religious sentiments, so that, while most of the Italian republics were ruined by intestine commotions between the nobles and people, Siena had the wisdom to modify its constitution in such a way as to admit the representatives of both parties to the government, and so preserve the vigor of the nation. It was thus she was enabled to extend her dominion and win the great victory of Monte Aperti, in which ten thousand Florentines were left dead on the field.
On one side of the piazza is the palace of the Sansedoni, one of the great Ghibelline families belonging to the feudal aristocracy of Siena—a frowning, battlemented palace, with a mutilated tower built by a special privilege in 1215. In it is a chapel in honor of the Beato Ambrogio Sansedoni, a Dominican friar who belonged to this illustrious family. It was he whom Pope Clement IV., after a vain effort to save the unfortunate Conradin of Souabia from death, sent to administer the sacraments and console the young prince in his last moments. Ambrogio distinguished himself as a professor of theology at Paris, Cologne, and Rome.
Close beside the Palazzo Buonsignori, one of the finest in the city, is the house said by tradition to have been inhabited by the unhappy Pia de Tolomei, indebted for her celebrity to Dante, rather than to her misfortunes. He meets her in the milder shades of Purgatory, among those who had by violence
died, but who, repenting and forgiving,
“Did issue out of life at peace with God.”
Her death was caused by the deadly miasmas of “Maremma’s pestilential fen,” to which her cruel husband had banished her.
It was a member of the Tolomei family—the Beato Bernardino—who, in the fourteenth century, founded the Olivetan Order. He was previously a professor at the university of Siena, but, being struck blind while discussing some philosophical subject in his lecture-room, he resolved, though he soon recovered his sight, to embrace the religious life; and when he next appeared in his chair, instead of resuming his philosophical discussions, he astonished his audience by insisting on the vanity of all earthly acquirements, and the importance of the only knowledge that can save the soul. Several of his pupils were so impressed by his words that they followed him when he retired to one of the family estates not far from Siena, which he called Monte Oliveto, whence the name of the order. Bernardino fell a victim to his zeal in attending to the sick in the time of a great plague. The convent he founded became a magnificent establishment, with grounds luxuriantly cultivated, a church adorned by the arts, and apartments so numerous that the Emperor Charles V., and his train of five thousand, all lodged there at once.
The Palazzo Bandanelli, where Pope Alexander III. was born, is gloomy and massive as a prison, with iron gratings at the arched windows, brick walls black with age, from which project great iron rings, and on the doors immense knockers of wrought iron, made