Kitabı oku: «The Story of Siena and San Gimignano», sayfa 6

In 1511, Pope Julius created Pandolfo’s second son Alfonso a Cardinal. In the same year peace was finally made with Florence, and a confederation established between the two Republics, Montepulciano being restored and the prepotency of the Petrucci assured. The star of France being on the wane in Italy, Pandolfo was now looking to Spain. His last political act was to intervene for harmony between the Pope and Florence. Gradually he was losing hold of things, absorbed in a vulgar, senile passion for a certain Caterina, whom the Sienese called “the two-handed sword,” the young wife of an artisan in the Via di Salicotto. In February 1512, he obtained from the Balìa that his son Borghese should take his place in the Collegio, and in all other magistracies in his absence. On May 21st he died at San Quirico. All the shops were closed when his body was brought to the city; there was a state funeral in the Duomo, after which it was carried in procession to San Francesco, and thence quietly conveyed by the friars to the Osservanza. Machiavelli, who came with the condolences of the Republic of Florence, ranks Pandolfo in the second class of despots. He was undoubtedly not among the worst tyrants of the epoch. Especially after his return from his brief exile, his rule was beneficial to Siena, in that he secured for the State a comparatively long period of respite from internal factions and of external peace.

Pandolfo, writes an anonymous chronicler, at his death left Borghese his son with the same authority, but not with the same prudence. The machinations of Antonio da Venafro secured his peaceful accession to his father’s dignities, and an increased force of mercenaries was hired under the command of Orazio Baglioni – Borghese’s prospective brother-in-law. But the young man was utterly without his father’s abilities, luxurious and dissolute, as well as cowardly and arrogant. So superstitious was he that, at the advice of a Jew astrologer, he always wore a bracelet with certain mysterious signs that should infallibly protect him from all possible enemies. For some time he tried the Medicean policy of dazzling the populace with festivities and spectacular displays, while the Cardinal Alfonso amassed riches at Rome, and plunged into the intrigues at the court of Leo X., which the papal executioners cut short a few years later. While the brutalities of Borghese’s favourite, the condottiere Pochintesta, disgusted and exasperated the Sienese, there was another Petrucci – Raffaello di Giacoppo, Bishop of Grosseto and governor of the Castle of Sant’Angelo – high in favour with the Pope and biding his time, in touch with the Bellanti, Petroni, Tancredi, and other families that hated Borghese. In December 1515, Borghese dismissed Antonio da Venafro. “I go, Magnificence,” said the old secretary, “but only to take rooms for you.” In the following March, with aid from Pope Leo X. and Florence, Raffaello Petrucci appeared in Sienese territory at the head of a force of mercenaries, accompanied by Leonardo Bellanti and other exiles, and Borghese with his young brother Fabio ignominiously fled from the city, leaving his wife and little daughters behind him.

Raffaello Petrucci entered Siena in triumph through the Porta Romana on March 10th, 1516, harangued the Signoria – his words being few and inelegant, says Pecci, because he was ignorant and more disposed to arms than to letters – and was then conveyed in state to his father’s palace, which occupied the site of the present Palazzo Reale. The creation of the new Balìa was put into his hands, the exiles were restored to their honours, Borghese and Fabio declared rebels. A league – but with reservation of the imperial rights over the city of Siena and its state – was concluded with the younger Lorenzo de’ Medici and the Pope, who was desirous, says Guicciardini, “that that city, being placed between the States of the Church and of the Florentines, should be governed by a man in his confidence, and perchance all the more because he hoped, when the opportunity of times should be propitious, to be able, by the consent of the Bishop himself, to subject it either to his brother or his nephew.” In the following year the Cardinal Alfonso Petrucci plotted against the Pope’s life in Rome, was degraded from the Cardinalate, and strangled in prison. One of his accomplices was the condottiere Pochintesta who, when examined, accused the Bellanti of similarly intending to murder the Bishop Raffaello at Siena. Raffaello summoned Giulio and Guidone Bellanti to his presence; the first was butchered by Francesco di Camillo Petrucci in the street outside, the second cut to pieces in the palace before Raffaello’s eyes, while he knelt and begged for mercy. Leonardo Bellanti, their old father, was sent to a fortress in the Maremma and there beheaded. Shortly afterwards, Raffaello was raised to the Cardinalate.

In spite of his personal immorality and cruelty, the tyranny of the Cardinal Raffaello does not seem to have been utterly bad. He governed with a firm hand, keeping Siena in peace and comparative prosperity for six years. During his absence at the conclave after the death of Leo X., the exiles and anti-Mediceans prevailed upon the Duke of Urbino in January, 1522, to invade the Sienese contado in favour of Lattanzio Petrucci, also an ecclesiastic and a cousin of Borghese; but with no result. And in March, after his return, another unsuccessful attempt led by Renzo da Ceri, backed by France and secretly favoured by a party in Siena itself, was made to overthrow his regime. The Cardinal died suddenly in his villa on December 17th, 1522, in such a tempest “that it seemed the mouth of Hell were opened.” When his body was brought to Siena to be buried in San Domenico, a howling mob assailed the funeral procession, hurling stones and hooting, shouting that the dead man should be thrown out into the place where the carrion was cast. The friars all fled, leaving the bier alone in the midst of the police, who with difficulty got it safe into the church. Raffaello left one illegitimate son, Eustacchio, who held the command of the mercenaries in the Campo.

Francesco di Camillo Petrucci, the son of a younger brother of Pandolfo, who had been at the head of the government during the Cardinal’s absence, now seized the chief power; while part of the citizens looked to the imperial agents in Rome for the restoration of their liberties, and another part desired the recall of Pandolfo’s youngest son Fabio – Borghese having gone mad at Naples. Francesco’s tyrannical behaviour and his murder of Marcello Saracini disgusted all classes. Pope Clement VII., who intended to marry Fabio Petrucci with the daughter of Galeotto de’ Medici, summoned Francesco to Rome and kept him there, while Fabio, in December 1523, entered Siena. Fabio was a youth of eighteen years of age, excessively handsome and winning in manners, most incompetent and more dissolute than even Borghese had been. The Sienese stood his mercenaries and his unsavoury amours for about nine months. On September 18th, 1524, there was a general rising against him, headed by Giovanni Martinozzi, Mario Bandini and Giovanni Battista Piccolomini. Fabio’s mercenaries occupied the Palazzo, while his few remaining friends assembled in the house of Alessandro Bichi. There was prolonged fighting in the Campo, in the Piazza Tolomei, at the Croce del Travaglio, the adherents of Fabio raising the Florentine shout of “Marzocco” only to be drowned by the swelling thunder of “Popolo e Libertà!” Had Fabio held his ground for a couple of days more, aid would have been forthcoming from the Florentines and the Pope; but his heart failed him and, rejecting the compromise which the leaders of the revolution offered him, he fled at nightfall through the Porta Tufi and escaped to Florence. Thus ignominiously ended the tyranny of the Petrucci in Siena.

CHAPTER IV
The Sculptors and Painters of Siena

WE may conveniently begin the story of Sienese art with the coming of Niccolò Pisano to Siena in 1266, the year after Dante’s birth, for the work of the great marble pulpit of the Duomo. Niccolò’s son, Giovanni, became a citizen of Siena, and was chief architect of the Duomo during the two closing decades of the century. Stimulated by their presence and example, there rose an independent school of Sienese sculptors, which flourished from the end of the thirteenth to the middle of the fourteenth century – a school which chronologically succeeds to that founded by Niccolò Pisano, and anticipates the rise of the Florentine school under Andrea Pisano’s influence. These Sienese sculptors were mainly employed upon the Cathedrals of Siena and of Orvieto, and in making tombs in other cities of Italy, sepulchral monuments in which, writes M. Reymond, “the Sienese school reveals a very special and new character, which is the subordination of the religious idea to the civil idea.”⁶⁰ Tino da Camaino, who sculptured the famous tomb of Henry VII. at Pisa and worked for the royal Angevins of Naples; the architects, Agostino di Giovanni and Agnolo di Ventura; Cellino di Nese, who made the tomb of the poet Cino at Pistoia; Gano da Siena and Ramo di Paganello; Lorenzo Maitani, whose fame is for ever linked to the glorious Duomo of Orvieto; these are the masters of chief repute in this early Sienese school.

All these belong to that bright epoch in the story of Siena previous to the great pestilence of 1348. Then there came a sad decline, as the statues of the Apostles in the chapel of the Campo, executed between 1376 and 1384, show only too clearly. But, just at the time that St Catherine was beginning her public life, Siena became the mother of one of the greatest sculptors of the Renaissance.

Giacomo della Quercia was the son of a goldsmith named Pietro di Agnolo, a citizen of Siena, and was born in Siena or its contado in 1371 or 1374. His first artistic studies were made in Siena itself where, there being then no great native sculptors, he drank inspiration almost solely from the great pulpit of the Duomo. This, perhaps, is what makes him so isolated a figure in the art of the Quattrocento; the heir of Niccolò Pisano, the forerunner of Michelangelo. He left Siena when it fell into the hands of the Duke of Milan, and went to Florence, where he was chiefly impressed by the work of Giotto and Andrea Pisano. In 1401 he entered the competition for the second bronze gates of the Baptistery, and came next to Ghiberti and Brunelleschi; his figures, says Vasari, were considered good, but lacking in refinement, non avevano finezze. A few years later, at Lucca, he carved that tomb of Ilaria del Carretto, made famous in our own days by the eloquent enthusiasm of Ruskin. His native city now began to recognise his genius. In 1409 he was commissioned to make the famous fountain of the Piazza del Campo, upon which he worked at intervals between 1412 and 1419 – going off to do other work at Lucca, and forced by the Signoria to return under heavy financial penalties. In 1416 he was commissioned by the Operaio, or superintendent of the artistic work of the Duomo, to design the Font for the Baptistery, and in the following year to cast two bronze scenes, storie, for the same. But here again he undertook things elsewhere – in Bologna, this time – and the Signoria had to compel him to finish what he had begun, which he did in 1434. In the meanwhile, he had accomplished his supreme work at Bologna in the bas-reliefs on the pilasters of the door of San Petronio – those marvellous scenes from the Book of Genesis, in which he seems to anticipate the achievement of Michelangelo in the Cappella Sistina. Giacomo died at Siena in 1438. His style is grand and austere, full of force and vigour, with a kind of rugged greatness that contrasts curiously with the manner of contemporary Sienese painters; he dispenses with accessories, concentrating the interest upon the human figures in his stories. There is peculiar nobility and power in his treatment of the nude. “Sooth to say, Giacomo had only one pupil, and for him there was a century to wait; he was Michelangelo.”⁶¹

No other Sienese sculptor of the Quattrocento approaches Giacomo’s solitary greatness. Pietro del Minella (1391-1458) was his favourite pupil and assistant, but caught little of his spirit. The two Turini – Turino di Sano and his son Giovanni (1384-1455) – were associated with him on the work for the Baptistery, and acquitted themselves creditably, even by the side of Donatello and Ghiberti. Then come two men of greater mark: Antonio Federighi (died about 1480), and Lorenzo di Pietro (1412-1480), called Il Vecchietta. The former, who is said to have been connected with the Tolomei, was also an architect, as the “grandiose simplicity” of the Loggia that he built for Pius II. shows; as a sculptor, he is perhaps the most classical of the Sienese masters of the Quattrocento, following not unworthily in the steps of both Giacomo della Quercia and Donatello. Vecchietta appears to have been actually Giacomo’s pupil; his principal works are in bronze, somewhat hard and dry in style, with excessive attention to anatomical details. Giovanni di Stefano (died after 1498) and Urbano da Cortona (died 1504), by the latter of whom are some tolerable works in the Duomo and elsewhere, are conscientious scarpellini, with no original genius. To Francesco di Giorgio Martini (1439-1502), the pupil of Vecchietta, are ascribed – frequently on no adequate grounds – a number of the chief buildings in Siena in the style of the earlier Renaissance; as a military architect, he stands high among the craftsmen of his century, and was much employed by the Dukes of Urbino. Like his master Vecchietta, he was also a worker in bronze and a painter. Of his fellow-pupil Neroccio di Bartolommeo Landi (1447-1500), it will be best to speak among the painters; his few extant works in sculpture have a peculiar combination of dignity and sweetness, which is at once impressive and winning. Giacomo Cozzarelli (1453-1515) was a pupil of Francesco di Giorgio; he designed the famous palace of Pandolfo Petrucci and made those wonderful torch-holders and other metal work for its exterior, which are only surpassed by Caparra’s masterpieces in this kind on the palace of Filippo Strozzi at Florence. Lorenzo di Mariano, called Il Marrina (died in 1534), is the last great sculptor of the Sienese Renaissance; as a decorator in marble he has few if any equals, and his masterpiece in the oratory of Fontegiusta need not fear the comparison with the best Florentine work of the epoch.

Nor should we pass from the sculptors without a word on the wood-carvers, who are among the minor artistic glories of Siena. Domenico di Niccolò (who died about 1450), called Del Coro from his work in the chapel of the Palazzo del Comune, Antonio Barili (died 1516), and Giovanni Barili (died 1529), produced work in this kind which is hardly surpassed in any Italian city of the Renaissance.

The Jesuit art-historian Lanzi characterised the Sienese school of painters as lieta scuola fra lieto popolo, “a blithe school among a blithe people,” and added that their principal works were to be found in the churches of the city. Needless to say that the latter remark no longer holds, and we shall do best to begin our consideration of the painters in the well-arranged picture gallery of the Reale Istituto Provinciale di Belle Arti.

The first great epoch in Sienese painting, as in sculpture, is contemporaneous with the government of the Nine and ends with the outbreak of the pestilence of 1348. The moving spirit of this period, the true founder of the Sienese school, is Duccio di Buoninsegna. Recent researches have shown that he was born shortly before the battle of Montaperti, and that his artistic activity extends from 1278 to 1313.⁶² It will be better to speak more fully of his work when we stand before his masterpiece in the Opera del Duomo, that picture which, in Ghiberti’s words, “was made right excellently and learnedly, and is a magnificent thing.” Bringing the Byzantine manner to its utmost perfection for the purpose of religious illustration, Duccio gave imperishable form to what had been more or less traditional through the previous centuries of Christian art. He is to the Middle Ages what Raphael was to be to the Renaissance. Segna di Tura di Buoninsegna, who was working in the early years of the fourteenth century, was Duccio’s pupil, perhaps his nephew; he imitated the manner of his master, but somewhat ineffectually. Simone Martini, on the other hand, followed worthily in Duccio’s footsteps; with an exquisite sense of beauty and a love of splendid decorative effects in colour, he is perhaps the most typical master of “soft Siena,” doing for her in line and colour what Folgore had done in rhyme. He died in 1344. With him as assistant worked his brother-in-law, Lippo Memmi; “they were gentle masters,” wrote Ghiberti, “and their pictures were done with the greatest diligence, right delicately finished.” This epoch culminates in the two Lorenzetti – Pietro and his younger brother Ambrogio – both of whom appear to have been among the victims of the pestilence. Ambrogio especially, famosissimo e singularissimo maestro, as Ghiberti calls him, nobilissimo componitore, is the greatest and most imaginative painter that Siena has produced. In the splendid allegorical frescoes with which he adorned the palace chamber of the Signori Nove and in his glowing altarpieces, in material beauty and spiritual significance, he reaches a height unattained by any other Italian painter of his century – save only the mighty Florentine, Andrea Orcagna.

In the Stanza Prima —dei Primitivi– we have first a number of pictures of the Pre-Duccian epoch. The altarpiece (1), partly in stucco in half relief and in the Byzantine style, is peculiarly interesting from its date, 1215, as showing us the state of art in Tuscany in the very year of the traditional outbreak of the Guelf and Ghibelline factions in Florence. The very curious paintings (4 and 5), belonging to the thirteenth century, may be taken as next-to-contemporary representations of the scenes from the lives of St Francis and St Clare and Blessed Andrea Gallerani which they include (besides St Bartholomew, St Catherine of Alexandria, and St Dominic); St Clare repulsing Manfred’s Saracens from her convent by the Sacred Host is unique in so early a picture. We may here mention that Andrea Gallerani, a frequently recurring figure in Sienese art, was a nobleman of Siena, who died in 1251. He had killed a man for blaspheming and was exiled, but afterwards returned and devoted himself to works of mercy and charity, founding the Spedale della Misericordia, which was later united to the great Spedale di Sta. Maria della Scala. Next comes a series of paintings in the Byzantine manner: two somewhat imposing altarpieces to the honour of the Baptist and the Prince of the Apostles respectively (14 and 15); smaller scenes (8 to 13), showing the sort of thing that Duccio glorified and perfected a little later. Duccio himself is represented by six authentic pictures; an early work on a small scale (20), the Madonna and Child with Angels and Franciscan friars; three Saints (22, 23); an important and characteristic picture of the Madonna and Child with St Peter and St Dominic, St Paul and St Augustine, Christ blessing from above and Angels bearing sceptres that end in threefold lilies in token of the Trinity (28); a triptych (35), including scenes from the lives of Christ and His Mother that anticipate in some sort the illustrative power of his masterpiece in the Opera del Duomo; a large altarpiece in many divisions (47), in which the Blessed Virgin is honoured under two of the titles assigned to her in the Litany of Loreto – “Queen of Patriarchs,” “Queen of Prophets.” By Segna di Tura are several pictures of no great importance; part of an altar-piece (40); a Madonna (44); St Ansanus (42); and St Galganus (43). It may be well to mention that St Ansanus, according to the legend, was the first Apostle of Siena, a Roman patrician who suffered in the persecution of Diocletian; St Galganus lived in the twelfth century, was guided by St Michael into the wilderness, and when prevented by the devil from cutting wood to make a cross he struck his sword into the hard rock, which became soft as wax to receive it and then harder than adamant to retain it, and built a hermitage at the spot. He is usually pictured as here by Segna – a young knight with flowing golden hair, the miraculous sword forming on the rocky desert place the sacred sign of Redemption. Simone Martini is not represented in the Gallery; but there is an altarpiece (51) ascribed to Lippo Memmi, and fairly characteristic of the religious art of fourteenth century Siena. A well-preserved picture in the following room (11), with St Michael as central figure, shows something of Lippo’s manner, but is not a work of the master himself.

In the second room there is a noble collection of paintings by the Lorenzetti. By the elder brother Pietro are: the Assumption of the Madonna (5), with the doubting Thomas receiving the sacred girdle; the Madonna and Child enthroned (21), with a lovely band of Angels clustering round the throne; four small scenes from the history of the Order of the Carmelities (28, 29), being apparently the remains of the predella of a famous picture that Pietro painted for the church of the Carmine in 1329. The younger Lorenzetti, Ambrogio, is represented by three masterpieces. The smallest of these (9) is a perfect gem of early Sienese art; the Madonna is enthroned with both her arms folded round the Divine Child, who unfolds a scroll to the four Latin Doctors kneeling in adoration, each receiving His doctrine with a wonderful expression of rapt devotion, ecstasy and yearning – but each in a totally different way; the golden haired Virgin Martyrs, Catherine with her wheel, Dorothy with her flowers, are standing in attendance on the Queen, and there are six adoring Angels above. The large altar-piece (2) is a striking and imposing work; the Madonna and Child are attended by the Magdalene and St Dorothy and the two St Johns, while below is the Deposition from the Cross: the heads are full of beauty and expression, and the Deposition shows Ambrogio’s dramatic power. The Annunciation (33), dated the 17th of December 1344, appears to be Ambrogio’s last extant work; it was painted for the Palazzo del Comune and, in addition to the painter’s name, is inscribed with those of the Camarlingo – Don Francesco, monk of St Galganus – the three Esecutori and the Scrittore or scribe.⁶³ High up on the wall above this picture are two half figures of saints (34, 36), damaged, but genuine Ambrogios. Ascribed to Pietro Lorenzetti is a curious allegory (37), apparently of the story of sin and the Atonement of the Cross.

As in sculpture, so in painting, a decline set in after 1348. In the latter part of the fourteenth century worked Giacomo di Mino del Pellicciaio, Lippo di Vanni, Bartolo di Maestro Fredi (who died in 1410), Barna or Berna, Luca di Tommè, Paolo di Giovanni, Andrea di Vanni. They are somewhat mediocre artists, far below the Lorenzetti, from whom they not unfrequently borrow motives; still, as religious illustrators, they follow to the best of their limited powers the greater men who had gone before. Andrea di Vanni is an exceedingly interesting personality; he was a man of mark in the counsels of the Riformatori, served the State as ambassador and in other capacities, and was a fervent disciple of St Catherine, who addressed several letters to him and whose portrait he painted. Barna can only be studied at San Gimignano, and the picture ascribed to Andrea di Vanni (59) is not one of his few authenticated works. But Bartolo di Maestro Fredi is represented in this Stanza II. by a whole series of paintings (42 to 49); by Luca di Tommè is a signed and dated picture of 1367 (54), in which the central group of St Anne with a very sweet and girlish Madonna has great charm; Paolo di Giovanni’s Nativity of the Blessed Virgin (61), partly imitated from a picture by Pietro Lorenzetti, is bright and pleasant in colour and feeling; by Giacomo di Mino is a triptych (90). This room contains also some good and characteristic works of the Florentine school of the Trecento; a Madonna with the Magdalene and St Catherine of Alexandria and Angels (52), signed by Taddeo Gaddi; the Death and Coronation of the Madonna (64, 70), by Spinello Aretino. The connecting link between this group of Sienese artists and the painters of the Quattrocento is found in Taddeo di Bartolo (1363-1422), the pupil of Bartolo di Fredi. With no striking originality nor any great power, Taddeo was a conscientious and meritorious painter, whose works show a deep religious feeling, and who exercised considerable influence upon the Sienese school of his day. Most of the greater painters of the succeeding epoch may be said to have proceeded, directly or indirectly, from his school. By Taddeo di Bartolo, besides a number of smaller pictures, there is in this room one large altar-piece in several divisions (76), signed and dated 1409, of which the central scene is the Annunciation with St Cosmas and St Damian, the patron saints of the medical profession.

Sienese painting in the fifteenth century is distinguished by its mystical tone and its exceedingly conservative, not to say retrogressive, spirit. No preoccupation with scientific researches, no problems of movement or anatomy, disturbed the calm of the Sienese painters; we meet with hardly any portraiture in their work, and even less mythology. These most turbulent of Italian people who, in De Commines’ famous phrase, “are ever in division, and govern their commonwealth more fondly than any other town in Italy,” chose that their painters should give them art that was exclusively the handmaid of religion. While foreign sculptors, such as Donatello and Ghiberti, were welcomed and employed in Siena, foreign painters were practically excluded until the last two decades of the century. Great spiritual beauty in faces, accuracy of drawing within certain limits, with a profusion and a lavishness in the use of gold and the most brilliant colours (this the Sienese particularly demanded of their painters), characterise the school at this epoch. Their strength and their weakness alike are shown in that their most typical painter is styled the “Sienese Fra Angelico,” while there never was, at least to any good effect, a Sienese Masaccio. The chief painters whose work falls into this period are: Sano di Pietro (1406-1481), Domenico di Bartolo (whose few extant works are dated from 1433 to 1443), Giovanni di Paolo (died in 1482), the sculptor Lorenzo di Pietro, called Il Vecchietta (1412-1480), Stefano di Giovanni called Sassetta (died in 1450). And then, following after these, a second group: Matteo di Giovanni, who was born about 1435 and died in 1495; Francesco di Giorgio Martini (1439-1502), Neroccio di Bartolommeo Landi (1447-1500), Benvenuto di Giovanni (1436-1518) – these three the pupils of Lorenzo di Pietro.

These painters and their contemporaries are represented in the four following rooms of the gallery. In Stanza III., a curious little panel by Domenico di Bartolo (19), with a devout inscription in honour of the Madonna, signed Dominicus and dated 1433, contrasts strongly with the more typical Sienese works that surround it. The composition, the types of Angels, the naked Child, all show ill-assimilated Florentine influences. The Child in its unidealised humanity is the first nude infant in Sienese art; all Sano’s babes, for instance, are more or less clothed, already dreaming divine dreams. Domenico was a native of Asciano who came to Siena, and is said to have become the pupil of Taddeo di Bartolo; all his work, however, is a kind of protest against the mystical Sienese tradition in painting. Certain great frescoes of his, which we shall see later in the Spedale, stand alone in the story of the art of Siena. Then follow some small pictures by Sassetta (21 to 24), fairly representative. Giovanni di Paolo – a prolific and always agreeable, if somewhat monotonous and weak painter – is more fully represented here, in a series of Madonnas and Saints, scriptural scenes and mediaeval legends. Two of his pictures (28 and 55) are signed and dated 1453 and 1440 respectively. His Last Judgment (27), the predella of a picture painted for San Domenico in 1445, is particularly interesting; much of it is the usual tradition, but the Paradiso on our left is full of most poetical and fanciful details, slightly reminding us of Angelico’s work in the Florentine Academy, but conceived in a curiously different spirit. The scenes from the life of St Galganus (53) are a favourable example of his ingenuous narrative power. When Il Vecchietta turns from sculpture to painting, he lays aside his science and follows the Sienese tradition with the rest. His San Bernardino (63) has considerable interest, being to all intents and purposes a contemporary portrait. A large altarpiece, badly preserved (67), is one of the works that he painted as an offering for the church of the Spedale, and is signed: “The work of Laurentius Petri, sculptor, alias El Vecchietta, for his devotion.” The shrine, painted on both sides with figures of Andrea Gallerani and other Sienese saints, comes from the same place. We may notice the Madonna and Child with St Francis and St Dominic (66), by Pier Francesco Fiorentino, a Florentine priest who painted in the latter part of the fifteenth century, and who shows himself as reactionary as any master of Siena; his works abound at San Gimignano and throughout the Val d’Elsa. Mr Berenson ascribes to him the four little trionfi at the other end of the present room – the Triumphs of Death, Chastity, Love and Fame (4 to 7), partly after Petrarch – which were at one time erroneously attributed to Andrea di Vanni.