Porta Camollia is not remarkable in an architectural point of view, but it has its sacred associations. It was here St. Bernardin of Siena used to come every night, when a boy, to pray before the tutelar Madonna of the gate. His aunt, hearing him speak of going to see the fairest of women, followed him at a distance one night and discovered his secret.
The chapel of the Confraternity of San Bernardin is a museum of art. The walls are covered with fine frescoes of the life of the Virgin by Beccafumi, Sodoma, and Pacchia. One of the most beautiful is Sodoma’s “Assumption,” in which Mary—pulchra ut luna—in a mantle like a violet cloud, is borne up to her native heaven by angels full of grace. The apostles, with thoughtful, devout, but not astonished faces, stand around the tomb, out of which rise two tall lilies amid the white roses. St. Thomas lifts his hands to receive the sacred girdle.
Everywhere about this chapel is
the sacred monogram so dear to San Bernardin. The holy name of Jesus is inscribed on the front, on the holy-water basin, on the walls; placed there in more devout times, when even genius sought to
“Embalm his sacred name
With all a painter’s art and all a minstrel’s flame.”
There are more than sixty churches and chapels at Siena, but perhaps not one without some work of art that is noteworthy. Siena was the cradle of art in the thirteenth century, and has its aureola of artists as well as of saints. The school of Florence only dates from the fourteenth century. Guido da Siena, Bonamico, and Diotisalvi were the glorious precursors of Cimabue, and Simone Memmi, a century later, shared with Giotto the friendship and admiration of Petrarch.
“Ma certò il mio Simon fû in Paradiso.”
The old Sienese artists were profoundly religious. In their statutes of 1355 they say: “We, by the grace of God, make manifest to rude and ignorant men the miraculous events operated by virtue, and in confirmation, of our holy faith.” The efflorescence of the arts is one of the expressions of a profound faith. We have only to visit the galleries of Italy, filled with the sad spoils of numberless churches and convents, to be convinced of this. And there is not a tomb of a saint of the middle ages out of which does not bloom some flower of art, fair as the lilies that spring from the sepulchre of the Virgin. What wreaths of art entwine the tombs of St. Francis, St. Dominic, and St. Antony of Padua!
The collection of paintings at the Academy of Siena is very interesting. Here Beccafumi represents