28 Route 5. SIENA. Palazzo Pubblico.
St. Christopher and other saints (1441). The vault of the archway is
occupied by a curious view of Rome. — A beautiful iron railing (1435-45),
in the Gothic style, by Jacopo della Quercia, to the right in front of
which is a holy-water basin by Giov. di Turino, separates. this vestibule
from the Counoil Chapel. The handsome choir-stalls carved by Dome¬
nico di Niccolò (1415-29) have some of their details already in the Renais¬
sance style. The frescoes (left) of the Death and Assumption of the Virgin
are by Taddeo di Bartolo. The altar-piece is a Holy Family by Sodoma;
on the right is an organ by Giov. Pifferio and Giov. di Pietro Castel-
nuovo (1521). — To the right of the Sala del Mappamondo is the —
Sala della Pace, or Sala dei Nove, with celebrated *Frescoes (1337-43)
by Ambrogio Lorenzetti, which are indispensable to those who desire an
insight into the disposition of the proud citizens of Siena in the middle
ages. The fresco opposite the Windows represents 'Good Government',
the ideal of a state, under the guidance of wisdom, justice, peace, and
other virtues ; that on the right (entrance-) wall shows in a realistic style
the blessings attendant on good government; while the two pictures on
the left wall portray the consequences of 'Bad Government'. The alle-
gories and allusions of a more or less obscure character which they contain
are at least interesting as being of a much more naive kind than those
customary in modern times. The preservation is imperfect, but the
spectator will not fail to admire the heads of Peace, Justice, and Concord,
and the portraits of the magistrates in the first of the series. — Ad-
joining is a room with portraits of the eight popes and thirty-eight
cardinals to whom Siena has given birth. — A Corridor contains some
frescoes recently transferred from other buildings, a Madonna by Matteo
di Giovanni da Siena (1484), and San Bernardino preaching in the Campo
(p. 27) by Sano di Pietro, interesting for its representation of the piazza
at that period. — The adjoining —
Sala di Balia, on the right, is adorned with ostentatious frescoes
from the history of Pope Alexander III. by Spinello Aretino (1407-8;
see p. 52), including a naval victory of the Venetians, and the Emp.
Frederick Barbarossa and the Doge Seb. Ziani leading the Pope's horse.
The fine intarsia door is by Dom. di Niccolò ; of the f our chests the one
with the finely carved she-wolf is by Ant. Barili. — The next room is
the Sala Vittorio Emanuele, decorated in 1886-87 by Aldi, Cassioli,
Ces.Maccari, and others with fine frescoes from the recent history of
Italy, unveiled in 1890. — The last room, to the left of the corridor, is
the Sala del Concistoro , with ceiling-paintings (scenes from Roman
history) by Dom. Beccafumi, a fine marble doorway of 1446 by Bernardo
Rossellino (above which is the Judgment of Solomon by Luca Giordano),
Fiorentine tapestries (the five smaller ones of the 16th cent.) on the walls,
and modern busts of illustrious citizens of Siena.
On the fourth landing of the main staircase stands a statue of Moses
(from the Fonte degli Ebrei in the former Ghetto) by Ant. Federighi
The upper floors are now being fitted up as a museum.
On the third floor is a Loggia in which the marble *Fonte Gaia ('f ountain
?f j°y')? the masterpiece of Jac. della Quercia (1409-19), was reconstructed
in 1904, on a pian suggested by Corrado Ricci. The sadly damaged
sculptures represent the Madonna, the Creation, and the Expulsion from
Paradise. On the wall at the back is a fresco of the Madonna by
Ambrogio Lorenzetti (1339). Fine view of the environs with Monte
Amiata (p. 46) in the distance.
The marble Fonte Gaia (PI. C, 5), in the centre of the semi-
circle of the Piazza del Campo, is a copy, executed in 1868 by
Tito Sarrocchi, of the old fountain by Jac. della Quercia which was
taken down in 1858 (see above). A subterranean conduit, ca. 1572M.
in length, has supplied the fountain with water since 1344.
Leaving the Via di Città (p. 26), which is especially thronged