30 Ponte 5.
width 27 yds., length of transept 56 yds.) The *Facade, completed
in 1380 from a design by Giovanni Pisano (?), is composed of red,
black, and white marble, and, like that of Orvieto cathedral, has
three gables. The centrai pillars above the main cornice are
thrust somewhat to the side to enclose a large rose-window. The
rich sculptural decoration (prophets and angels) are mainly re-
productions dating from the restoration of the cathedral in 1869
(the weather-beaten originals in the Opera del Duomo, p. 32);
the Venetian mosaics were added in 1878 after designs by Mus-
sini and Franchi. On each side of the steps is a column hear¬
ing the she-wolf of Siena (p. 24). The campanile, which dates from
the end of the 14th cent, and consists of six stories, is lightened
towards the top by the increased number of window arches, though
it does not taper. The fagade is best seen by moonlight, 'when dis-
agreeable details are unapparent and the great mass of black and
white marble becomes a gleaming vision1 (Olcott).
The *Interior, lined with alternate courses of black and white
marble, consists of a nave and aisles extending to the choir and inter-
sected by a doublé transept. The irregular dome (twelve angles above
and six below) is advanced slightly towards the nave, leaving free the
bay of the transept nearest the choir. The pillars of the nave are faced
with half-columns and united by round arches, above which runs a
projecting cornice adorned with busts of popes (in terracotta; about
1400). In spite of a certain lack of unity, due to the long period over
which the building was protracted and to the number of different artists
employed, the general effect is cheerful and harmonious.
The stained glass of the circular window in the entrance-wall
was designed by Perin del Vaga and executed by Pastorino Micheli in
1549. Over the entrance is a graceful tribune of 1483, borne by two
columns. The fine basins for holy water are by Ant. Federighi (1462-63).
The marble *Pavement is quite unique, being covered with 'Graffito'
representations from designs by eminent artists : scenes from Old Testa-
ment history, Moses, Samson, Judas Maccabseus, Solomon, and Joshua by
Domenico di Niccolò (1423) ; Absalom by Pietro del Minella- the Massacre
of the Innocents by Matteo di Giovanni (1481) ; Abraham's Sacrifice, Adam
and Ève, Moses on Mt. Sinai, etc, by Beccafumi; Fortuna by Pintu¬
ricchio; the symbols of Siena and the towns allied with it, Hermes
Trismegistus, Socrates and Crates, the Sibyls (1482-83), and other figures
by artists of the 14-16th centuries. The execution varies. The oldest
scenes are simple outlines engraved on the white marble and filled with
black stucco. Shading was then introduced by the use of grey and also
of coloured marble, so that the graffito gradually developed into an
elaborate mosaic. Most of the pavement is generally protected by a
wooden floor, which is, however, removed for a few weeks after Aug.
15th (Feast of the Assumption). Some of the originai works are now
in the Opera del Duomo (p. 32), being replaced by copies in the cathe¬
dral. Comp. 'The Pavement Masters of Siena', by R. H. Hobart Cust.
Left Aisle. At the entrance-wall, statue of Pope Marcellus IL, by
Dom. Cafaggi. —■ 4th Aitar, presented by Cardinal Francesco Piccolomini
(p. 31), with sculptures by Andrea Bregno of Lugano (1481-85) and statues
of SS. Peter, Pius, Gregory, and James, by Michael Angelo, and St. Francis,
begun by Torrigiani and completed by Michael Angelo (about 1501-5). —
To the left of the entrance of the Libreria (p. 39) is the coat-of-arms of
the Bandini family, with the Risen Christ and angels.
The *Pulpit, octagonal in form and constructed of white marble,
borne by nine granite columns, some of which rest on lions, and adorned