39.  1518. Bernardino di Jacomo.

Of this sculptor nothing much is known. In company with a painter named Francesco di Bartolommeo, in 1555, he valued a picture painted by Lorenzo di Cristofano (il Rustico) and his pupils, for the Confraternità di S. Michele; and he was in 1559–60, commissioned to make three coats of arms in tufa, to decorate the façade of the Palazzo Pubblico.

40.  1518. Giovannantonio Marinelli, called il Mugnaino.

Of this sculptor we find no trace; but we read of another workman in the same craft, by name Anton Maria, who was also nicknamed il Mugnaino. This artist in 1583, with another sculptor, Domenico Capo, was employed to make marble ornaments for an altar in the Duomo.215

Of these two brother masons nothing is known. They may have been related to the cannon-founder, Mosè Gallo, whom we find referred to in 1502, as making guns for the Commune of Siena;216 or they may have been related to the family from which came Sodoma’s wife, Beatrice, daughter of Luca di Gallo.

The only information to be found, concerning this sculptor, is that he was employed to make a tomb for the Marsili family, which was valued by Francesco Tolomei and Domenico Beccafumi.217

46.  1562. Giovanni Battista di Girolamo Sozzini.

This painter and sculptor was born in Siena in 1525, and studied the arts of drawing and painting under Bartolommeo Neroni (Il Riccio). He was also a pupil of Beccafumi’s, and in addition learned to make portrait-effigies in stucco and wax under Pastorino Pastorini, in which art he excelled.218 He was brother to the celebrated Alessandro Sozzini, Diarist of the last Siege of Siena, and died in 1582. His work, as we have said above, was much admired in its day.

47.  1562. Niccolo di Girolamo Gori,

With his brother Antonio was, in 1552, party to a receipt in full, given by the Opera del Duomo to Pastorino Pastorini, the painter and worker in glass, for work done there.219

48.  1562. Domenico di Pier Giovanni.

Of this man also no record is to be found, but perhaps he was the son of the mason, Pier Giovanni, mentioned in a document dated 1537, who opened up an arch for a niche in connection with Sodoma’s work on the Cappella di Piazza.220

From this time, for over 200 years, the Pavement work stood still, until:

Then another century passed away, until our own day.

These names belong to the History of Modern Italian Art, so that I need do no more than mention them in passing, as they hardly come into the scope of this work.