Having briefly sketched the history of the entire Pavement, it will be necessary now to describe it in detail. For this purpose I have divided it into ten parts, commencing at the great Western Entrance.

These ten parts are as follows:

  1. The wide Platform before the Façade.
  2. The Spaces in the three Western Doorways.
  3. The Nave.
  4. The South Aisle.
  5. The North Aisle.
  6. The North Transept.
  7. The Choir Ambulatory.
  8. The South Transept.
  9. The Choir and Altar-steps.
10. Under the Cupola.

1. THE PLATFORM BEFORE THE WESTERN FAÇADE.

Tizio14 tells us that this platform with its three steps was laid down in 1448, under the direction of Giovanni Borghesi, then Rettore of the Opera. Originally there were apparently five designs upon it, of which, however, only four were still distinguishable when, in the seventeenth century, Landi wrote his elaborate description of the floor.15 These were: In the centre, as at present, the Pharisee and the Publican kneeling before a round Temple: On either side a vase; the one inscribed Mel (Honey), the other Fel (Gall), symbolic perhaps of the imperfection of earthly joys. On the right-hand side on entering was the Sacrifice of Abel; and on the other side, Landi says, that there was no pictured design, but merely a fancy pattern of coloured marbles, probably replacing a scene previously destroyed by time and hard usage. The constant stream of traffic across this Platform has necessitated frequent restoration of the Pavement; and the story of Abel has now entirely vanished. The vase, also, on the right, now bears the label Lac (Milk), instead of Fel, perhaps in allusion to the Promised Land, and the Golden Jerusalem of Bernard of Clairvaux’s hymn. This work is executed in the earliest of the four principal methods of design: namely a trapano; that is to say, outlined on a slab of white marble in little dots made with a trepanning drill.

The figures of the Pharisee and the Publican are executed with great spirit, but are entirely modern in feeling and conception.16 Each figure is formed of a slab or slabs of white marble, cut in outline, and let into a background, of which the atmosphere is black and the ground red marble, so that each figure stands out clear and distinct. Lines of feature, folds of robes and other accessories are outlined, as described above, with a trepanning drill. Certain pieces of yellow marble have been added at the sides of the picture, which seem unnecessary and even discordant. They may have been placed there during the restorations which took place here but a few years since.

2. THE SPACES IN THE THREE DOORWAYS OF THE WESTERN FAÇADE.

The three much-worn scenes that remain here evidently represent the “Ceremonies of Ordination” in the three degrees; and such is the opinion of Faluschi, Landi, and Della Valle. Padre Everardo Micheli, however, wishes us to believe that these scenes illustrate the “Reconciliation of the Penitent:” a proposition which seems to me both far-fetched and improbable.

These works, executed in the same methods and with the same materials as those just described, retain far more of their original feeling and sentiment; and it is interesting to compare them with a similar set in the doorways of San Giovanni (the Baptistery), which represent the “Birth,” “Baptism,” and “Anointing of an Infant Christian.”

In the first case we have, to the extreme right, the “Ordination of the Deacon;” next, that “of the Priest;” and, finally, that “of the Bishop.” In the other, to the extreme left, is the “Birth of the Child” (a composition curiously similar to that employed by many painters at this period for the Birth of St. John the Baptist): then “Its Baptism;” and lastly, “Its Anointing and Reception into the Church of Christ.” Of these three scenes, commenced in 1450 by a certain Bartolomeo di Mariano, called Il Mandriano, from designs made by one Nastagio di Guasparre; that in the centre, which we read was executed by Antonio Federighi (1451),17 is very much the finest, although there is a certain similarity in general conception throughout.

On further research, we find that a certain Guasparre, described as “dipentore nostro,” made a design for the space before the door for the then existing Porta del Perdono.18 This design represented the “Consecration of the Duomo” in 1174,19 and was executed by Corso di Bastiano of Florence.

Now Guasparre d’Agostino, also designated as “nostro dipentore,“20 about this same time painted certain scenes from the Life of S. Bernardino for the Sacristy of the Duomo, and also decorated the apse of the Baptistery with frescoes of the “Crucifixion and Burial of Christ.”21 We may not unreasonably suppose that the above-mentioned Nastagio was his son or pupil, and that the father and son, or master and pupil, were associated together in all these similar works around the doors of the Cathedral and Baptistery. Unfortunately the work known to have been designed by Guasparre before the Porta del Perdono was, together with that entrance itself, ruthlessly destroyed in 1661, so that we have nothing certain remaining of his Pavement work upon which to start comparison. The force and charm, however, of the compositions, still existing before the Western Doorway of the Cathedral; show that they must have been executed from the designs of no mean or inferior draughtsman.

We find also several references at this date,22 to work done outside the Duomo by Bastiano di Corso, a Florentine, fine work by whom, as we shall see presently, still exists inside also; but it is not easy to identify the exact portion laid down by him and his son Corso, who, as we have seen above, was employed on the work before the Porta del Perdono.

It is interesting to notice how sharp and clear is the trepanning work in the older of these designs, and how close together the points have been drilled. It would appear as if, contrary to the method employed in the more modern work, no graving tool had been used, nor any stucco to fill up the holes and outlines.

And now we enter the Church.

3. THE NAVE.

The first thing that meets the eye is an inscription:

“CASTISSIMUM VIRGINIS TEMPLUM CASTE MEMENTO INGREDI.”

It is unknown by whom, or when, this inscription was laid down, but it is possible that it was introduced at the same time as the design which follows it.

Beyond this appears the commanding figure of a man in a high crowned head-dress, apparently an Eastern Sage, holding out with his right hand, to two other men, a book inscribed SUSCIPITE O LICTERAS ET LEGES EGYPTII; while with his left, he points to a quotation on a slab supported by two winged sphinxes. The principal figure represents the semi-mythical Hermes Mercurius Trismegistus, who, as we read below, was “Contemporaneus Moysi.” The two men, one old and turbaned, and the other veiled, may perhaps typify the learned men of the East and West. (Ill. III.)

The introduction of this mysterious personage, whose very existence is extremely doubtful, is most interesting to the student of Renaissance philosophical and theological ideas. Since to his fabled authorship are attributed a vast number of works dealing with ancient wisdom and religious belief, as well as many treatises on ecclesiastical ceremonial, the placing of him on the threshold of this magnificent Temple is not without appropriate suggestion. From the principal work attributed to him “the Poemander”,23 is drawn the quotation inscribed on the slab beside him here; and the enthusiastic attitudes of the two Seekers after Knowledge before him are very forcibly expressed.

This admirable design was placed here in 1488, under the Rectorship of Alberto Aringhieri, mentioned in the last chapter. He, being a Knight of St. John of Jerusalem and of Rhodes, must have been familiar with the mystical tastes and theories of those who endeavoured to bring the learning, lore, and art of Pagan ideals into line with Christian Dogma and Faith. Hence the choice under his direction of this subject, and, as we shall presently see, of the ten Sibyls also.

It is not definitely known who designed this group; but it is generally supposed, with considerable show of reason, to have been Giovanni di Maestro Stefano:24 and it appears to have been the last of the series commissioned by Aringhieri, as Rettore, since his occupation of that post ended in 1498.25 He seems, though, seven years later, to have commissioned Pinturicchio’s “Allegory of Fortune.”

The next design is that of the Badges or Emblems of Siena, surrounded by those of her allies. In the middle is the Wolf of Siena suckling the Twins. In a circle round her are the symbols of the following cities; Florence (a Lion, the “Marzocco”); Lucca (a Lynx); Pisa (a Hare); Viterbo (an Unicorn); Perugia (a Stork); Rome (an Elephant bearing a Tower); Orvieto (a Goose); and Arezzo (a Horse). In the four corners of the surrounding square are, Massa (a smaller Lion); Grosseto (a Goat); Volterra (a Vulture); and Pistoia (a Dragon). (Ill. IV.)

This, the only portion of the Pavement that is really executed in mosaic, was, as we have seen already, laid down in 1373; but we are unable to trace the author. Fragments of the original work are still existing in the Museum of the Opera; but the whole design has been replaced by a modern copy, carefully made by Sig. Maccari in 1865.26

Beyond this is a large geometrical pattern. A wheel with twenty-four columnar spokes, in the centre of which appears the Imperial Eagle. Of this design little or nothing is known; but the author of La Guida Artistica supposes it to have been of the same date as that last described (1373). It is possible that, before the days of Alberto Aringhieri, the whole of the Nave floor, except “Fortune’s Wheel,” in the first bay, may have been covered with geometrical or heraldic devices only, as can be seen at Lucca, and that all of them, except these last two, were removed to make way for other more interesting subjects.

The next scene is Pinturicchio’s well-known design, called in the old documents “La Storia della Fortuna.” It might just as well though be designated as “the Reward of Virtue,” or the “Pursuit of Wisdom.” (Ill. V.)

Wisdom, a sedate woman, royally robed, veiled, and crowned with a jewelled wreath, is throned upon the upper platform of a small precipitous rock in the midst of the sea. The platform is covered with growing flowers, as is also the winding path which leads to it. On Wisdom’s right hand stands Socrates, holding a book, to whom she offers a branch of palm. On her left is Crates, who is hastily emptying into the sea a basketful of rings, chains, and other jewels. To him she extends a closed volume. Over the head of Wisdom, on a tablet, appears the following inscription:

On the path below, which, besides flowers, is strewn with stones and over-run with reptiles and small animals, is a crowd of ten men, seekers after Wisdom, who apparently have just been landed upon the Island by Fortune. The attitudes of these men, some of whom at least appear to be portraits, are very striking. Alone at the head of the procession strides a stately personage—a patron perhaps of art and learning. Next to him an old man, leaning on a crutch-handled staff, plods determinedly along. Following him, a younger man looks back and shakes his fist at Fortune. Behind him stand six figures with varied expressions of interest or desire. In front of them an elderly man with a beard has sunk down exhausted, his book clasped in his left arm, too weary to move on. On the extreme right of the picture stands Fortune, a nude woman with a cornucopia in her right hand. She is the most striking figure in the composition. Her left foot is resting on a globe, perhaps to indicate her instability, while with her right she seems to push off the boat, shattered and broken-masted, in which these travellers have journeyed to the island. Above her head she holds a sail, which the wind has filled out, one end of which, wound round her body, is grasped also by her right hand. Obviously this design is one of those conceits so dear to the Renaissance mind. Fortune has, with favouring breeze, but through stormy waters, brought the seekers after Knowledge to the Mount of Wisdom; and the artist has endeavoured in these ten figures to symbolize the varied character of her votaries. Socrates stands calmly waiting for his reward; Crates earns his by contempt of all things worldly.

Pinturicchio received on the 13th of March, 1504,27 twelve lire for this design, which was laid down under his direction, probably by Paolo Mannucci, in 1506.28

The last design in the Nave is perhaps the oldest of all; but the actual piece of Pavement that we now see is a complete renovation by Signor Maccari in December, 1864, costing 2,491 lire 98 c. Tizio29 tells us that it was executed in 1372, and though he does not say who was the author of the design, or who executed the work, we know that Andrea di Minuccio was Operaio at this time,30 and that under his direction, two years later, the work at “the foot of the Choir” was completed.

We see a wheel with eight columnar spokes. To give an effect of rotatory motion, the border is inlaid in small lozenges of black and white marble, arranged to represent cogs. At the top of the wheel sits a King, enthroned and crowned, with orb and sceptre. Clinging to the two sides and bottom are three figures of men, whose anxiety to retain their hold, as the wheel revolves, is forcibly expressed. The wheel is surrounded by a continuous band of black and white marble, which, looped octagonally at the angles, incloses, in the spaces so formed, half lengths of the following four Sages: Epictetus, Aristotle, Seneca and Euripides. Each Sage holds a scroll, with a quotation from one of his own writings. (Ill. VI.)

This design may be compared with another Wheel of Fortune, inlaid by Domenico del Coro in the lower panel of a door in the Chapel of the Palazzo Comunale. Padre Micheli calls it the Wheel of Ambition,31 although the wheel itself is inscribed “Rota della Fortuna.” He thus describes it: “To the lower part is a man clinging, beside whom is written the inscription ‘So senza Regno’ (I am without a Kingdom). Half way up the wheel, to his right, clings another figure of a man, this time with the head of an ass, and the inscription ‘Regnero’ (I will reign). On the top of the wheel is seated an ass, with the word ‘Regno’ (I reign); and lastly, on the other side, going downwards, is an ass with a man’s head, and the motto ‘Regnai’ (I have reigned).” The author of this inlaid panel, who must in his former position of Capo-maestro, have known well the larger and older design, probably wished to improve upon it; but it is somewhat remarkable to find it placed among panels symbolising the Articles of Christian Faith.

Let us now turn to

4. THE SOUTH AISLE.

Both this and the North Aisle are adorned with representations of the ten Sibyls, five in each. These Sibyls were all placed here under the Rectorship of Alberto Aringhieri in the years 1482–83.32

The introduction of these mythical personages into ecclesiastical art was not unusual at this period, and they take their place beside the Prophets, as forerunners of Christ.

They form a curious link between the Pagan and Christian world of thought. According to Greek ideas, Sibyls were women under the inspiration of the Deity, but they are not spoken of at all by either Homer or Herodotus: and the first Greek writer who mentions them is Heraclitus (circa 500 B.C.). Aristophanes, Plato and other early writers only mention one: Heraclides Ponticus, a pupil of Plato, speaks of three (the Erythraean, Phrygian, and Hellespontine); but Pausanias gives four (the Libyan, Erythraean, Cuman, and Hebrew). Of these the oldest was said to have been the Libyan: though the best known to modern times are undoubtedly the Delphic, the Cuman (visited by Æneas), and the Tiburtine, who is said to have foretold Christ to the Emperor Augustus.

By Christian writers they are spoken of first in the second century A.D., but do not appear in art until the eleventh. In the handbook of Mount Athos we read of the “Wise Sibyl”; and side by side with David, one of these prophetesses appears in the Sequence of Thomas of Celano: the Dies Irae (circa 1253).33 They have no place in early mosaics, but one of the most ancient representations of a Sibyl is that of the Tiburtine in the church of Sta. Maria Aracoeli in Rome.

The first, and perhaps the most poetic Choir of them, is on the pulpit of S. Andrea at Pistoia, sculptured by Giovanni Pisano in 1301; but from that time, until the fifteenth century, we find no other groups of them. Then appeared a great many representations, and their number increases rapidly to as many as thirteen, the last of whom is the Queen of Sheba, who is called Nichaula, and is fabled to have foretold to King Solomon the Advent of a Messiah. The usual numbers, however, are three, four, six and ten; and in such groups they have been designed by the greatest artists. Giotto,34 Perugino,35 Pinturicchio,36 Raphael,37 and Michael Angelo,38 are but a few of these. Not only throughout Italy, but to the Northern Art Schools of Germany and Flanders, the same cult spread; and we find them introduced into sculpture, painting and engraving. Sibyls assist, as interested and sympathizing spectators, in every scene of Holy Writ. They meet us even in painted windows and illustrated books of devotion.39 It is therefore not remarkable to find them here; and, if one recognizes the attitude of mind, with which they were regarded by the Renaissance Catholic, they are even most appropriate. The number chosen is in accordance with that fixed by Varro, and with the exception of the Cumaean, who seems to take the place of the Cimmerian in his list, the choice of prophetesses is the same.

For the purpose of study, let us begin at the Western door; and commence with

The Delphic Sibyl.

Delphi, famous in ancient times for its Oracles, would not unnaturally suggest itself to these early students of Greek art and literature as one of the places whence prophecies of the Redemption of the World should come. Hence Plutarch calls her the first of the Sibyls. According to Pausanias, the Erythraean Sibyl, although a native of Marpessus, or Erythrae, in the Troad, lived mostly at Samos, and visited Clarus, Delos, and Delphi, at all of which places were shrines dedicated to the Pythian Apollo, whose special gift this form of prophetic utterance was said to be. Later tradition would seem to have divided her attributes into at least three, and given them separate existence. Here she is shown as a stately woman, bearing in her left hand a decorated horn from which issue flames. Her right hand rests on a tablet supported by a winged sphinx, which bears the words:

(Know thy God Himself, Who is the Son of God.)

Beneath her feet a label records her name, and the fact that she is mentioned by Chrysippus in his Book of Divination. We find40 that this figure was executed in 1482 by Giuliano di Biagio and Vito di Marco, who probably also made the design for the work, as the payment they received was 579 lire 10 soldi. We may compare this amount with the sum paid in 1866–69 for the restoration of the same Sibyl. It was 2,341 lire 17 c.

The Cumaean Sibyl.

It is not clear why this Sibyl is so named, especially as it provokes confusion with the more celebrated “Sibilla Cumana.” Apparently the Cimmerian Sibyl is intended. Ferdinand Piper tells us that she was sometimes styled the Italian Sibyl,41 and mentions other variations of the name: “Cymea, Chymerea or Chimica.” According to the label, supported behind her by two charming putti, she is said to have been mentioned by Piso in his Annals. Here she is represented as an excited-looking woman, with loose hair scattered over her shoulders. She bears in her hand a tablet, with the following words inscribed upon it:

(He shall accomplish the fate of death, having undergone a sleep of three days. Then being returned from the dead, he shall come into the light, showing the first beginning of the resurrection).

This design is said to be the work of Luigi di Ruggiero, called l’Armellino, and Vito di Marco;42 but, except a notice dated 148243 of payments to the first-named worker for marble cut by him for work on “li spazi di Duomo e per le Sibille,” we have no further record as to the author of this particular design, or its cost. We find, however, that in the restoration above referred to, it cost 2,581 lire 80 c.

The Cuman Sibyl.

This Sibyl is famed in poetic story as having been visited by Æneas: an interview described with much graphic minuteness by Virgil, in Book VI. of the Æneid. Endless legends have accumulated in connection with her, and her presence is associated with many spots in and around Naples. Ferdinand Piper states that the names of Amalthea, Demophile, and Herophile have been given to her by different writers,44 and that Justin Martyr asserts that she was daughter of Berosus, and came from Babylon to Campania. She is said to have lived for a thousand years; and to have been the ancient prophetess, who offered the Sibylline Books to Tarquin. These books, the oldest collection of which was, according to tradition, made about the time of Solon and Cyrus, by the Sibyl of Marpessus (the Erythraean Sibyl), at Gergis, on Mount Ida, found their way thence to Erythrae; from there to Cumae; and so to Rome. In 83 B.C. they were burned; but fragments of their contents continued to exist orally until A.D. 12, when they were collected and revised by the Emperor Augustus, and were surviving in 363. In the year 400 they were again destroyed by Stilicho; and the present so-called Sibylline books are a spurious invention of Jewish and Christian writers.

Here she appears as a somewhat severe old woman, with a veil wound round her head. In her right hand she carries the mistletoe bough of the Virgilian story; and with her left she clasps to her three books. Piled on the ground to her right, and burning, are six more, representing those destroyed by her in the Tarquinian legend; and above her left shoulder two flying cherubs bear a tablet, with the following inscription:

Her label bears the words “Sibilla Cumana meminit Virgilius. Eclog. IV.”

This figure is the work of Giovanni di Maestro Stefano di Giovanni and his scholars, and was executed by him in 1482.45 He received for it the sum of 697 lire, 9 soldi and 2 c. It was restored at the same time as the other Sibyls, in 1866–69, at a cost of 2,743 lire 6 c.

The Erythraean Sibyl.

This Sibyl, as we have already seen, is one of those named in the earliest lists by Pausanias. She is said to have been a native of Marpessus or Erythrae in the Troad, and he, as well as some other writers, gives her the name of Herophile; one authority however speaks of a Trojan Sibyl, whom he calls Herophila, and names the Erythraean one, Symmachia. She lived, as we have said before when writing of the Delphic Sibyl, chiefly at Samos, but visited Clarus, Delos and Delphi. This would, no doubt, account for the difficulty in distinguishing the various place-names attached to these different women. As we have also seen above, the Sibylline books are said to have been once preserved at Erythrae, and Lactantius attributes to her the famous acrostic which announces the Coming of the Anointed One, Son of God Himself, as Saviour of the World. Here she is depicted as a tall patrician lady, with a rather forbidding countenance, and a very curious head-dress, which partially envelops her face. Her right hand clasps a closed volume, while the left rests on an open book, supported by a carved lectern. On the pages of this book are written the following words:

(From the High Habitation of Heaven God has looked down on His humble (servants), and shall be born in these most recent days of a Hebrew Virgin in the cradle of the earth.)

Beside her on a stool is a tablet, telling us that this is the Erythraean Sibyl, whom Apollodorus claimed as his fellow citizen. This Sibyl was designed and executed by Antonio Federighi in 1482; and we are told that he received 649 lire 17 soldi for it.46 It is interesting to note that this and the Samian are the only Sibyls signed by their designers. Federighi’s evident taste for faithful representation of the costumes of his period, apparent also in his other works, would account for the rather bizarre head-dress above referred to. The cost of restoration of this Sibyl was 2,043 lire 13 c.

The Persian Sibyl.

Ferdinand Piper, quoting a scholiast on Plato,47 identifies this Sibyl with the one elsewhere variously called Chaldaean, Babylonian, Egyptian and Hebrew. He tells us further, that tradition called her also the daughter of Berosus, and daughter-in-law of Noah, which raises confusion with the Cuman.48 He adds, also, that sometimes the name of Sabbe is given to her, and sometimes that of Sambetha. Nothing more is known of this Sibyl; but it is worth noting that the prophecy here attributed to her is the only one that does not deal with the Birth or Atonement of Christ.

She is represented as a pleasant-looking woman of middle age, with her head bound up in a simple veil. In her left hand she carries a book, and with her right she draws attention to a tablet, resting on a carved pedestal, with an inscription as follows:

(With five loaves and two fishes He will satisfy the hunger of five thousand men on the grass. Taking up the remains, he will fill twelve baskets, for the hope of many.)

Beneath her feet, a label informs us that it is Nicanor who bears record of her. Urbano di Pietro da Cortona, Antonio Federighi, Vito da Marco and Luigi Ruggiero (l’Armellino) received commissions to execute these Sibyls on September 20th, 1481;49 but Urbano does not appear to have received his payment of 605 lire 12 soldi for the execution of this one, until October, 1483.50 The sum paid to restore his work was 3,153 lire 84 c.

5. The North Aisle.

The Albunean Sibyl.

This prophetess, as we gather from the label placed beneath her feet, was also styled the Tiburtine Sibyl, because she was “honoured as Divine at Tibur.” From a Christian point of view she is perhaps the best known of all the Sibyls, and the representations of her in art, still extant, are many and very varied in conception.51 The Emperor Augustus is said to have visited her, and, as a result of her prophecy, erected the altar inscribed “ARA PRIMOGENITI DEI,” now inclosed in the Cappella Santa (or di S. Elena) of the Church of Sta. Maria Aracoeli in Rome.

She is here represented as a tall and youngish woman, with a curious pointed head-dress. In her right hand she carries an open book; while above her left shoulder, and attached by a ribbon to the neck of a small cherub, is a tablet on which are the words:

(Christ shall be born in Bethlehem. He shall be announced in Nazareth, the peaceful Taurus (the Bull) being in the ascendant, the founder of peace. Oh Happy Mother whose breast shall give him milk.)

This Sibyl was designed by Benvenuto di Giovanni del Guasta in 1483,52 and is a fine specimen of his work; but it is not known definitely who executed this, or indeed any of the four remaining Sibyls. We read, however, that Giuliano di Biagio was in this year paid 41 lire 15 soldi for the carriage of 9,310 lbs. of marble for this work,53 so presumably he and his assistants executed some if not all of them. 2,149 lire 35 c. were paid for the restoration of this Sibyl in 1866–69.

The Samian Sibyl.

Of this Sibyl we know nothing, and can only point out, as in the case of the Delphic and Erythraean Sibyls, that the latter of those prophetesses, though born in the Troad, made her principal abode at Samos: and that thus these three may have been one and the same person. We are told, by the label beneath her representation, that she is spoken of by Eratosthenes, a writer quoted by Lactantius, and whose work was one of the first books printed in Italy in 1465.

This figure is one of the most beautiful of all the ten Sibyls, and well it may be, seeing that it was designed by that delightful draughtsman and earnest artist, Matteo di Giovanni Bartoli. A slender princess, with flowing draperies, she supports with her left hand a handsomely-bound open volume. A curious and characteristic feature of Matteo’s work is evident in the charming cherub-head, with outspread wings, that clasps a girdle round her robe below the hips. Beside her on a tablet, upborne by two lion-headed figures, is the following inscription:

(For thou, foolish Judaea! hast not known thy God, shining in the minds of men. But thou hast both crowned Him with thorns, and hast mixed for Him nauseous gall.)

At the foot of the tablet is the designer’s signature, with the date 1483. (Ill. VII.)

Matteo di Giovanni received for this design 4 lire only,54 on May 23rd, 1483; but it cost 2,654 lire 52 c. to restore.

The Phrygian Sibyl.

Of this Sibyl also nothing is known, though she too has been confounded with the Delphic Sibyl. Most of the longer lists, however, include both. From the label designating her we learn that she prophesied at Ancyra. She is here brought before us attired in what we may suppose the artist intended to represent Phrygian or semi-Oriental dress. She holds aloft in her left hand a small book open at the words:

(I am the only God, and there is no other God.)

Her right hand directs attention to a tablet, on a lyre-shaped support, between which are seen half-length figures and heads of nude suppliants, apparently rising from the grave.

The inscription on the tablet runs as follows:

(The trumpet shall utter from Heaven a mournful sound. Yawning earth shall show Tartarean Chaos. All Kings shall come before the Tribunal of God. God Himself judging the Evil and the Good together. Then at length He will send the wicked into fire and darkness. But whosoever will keep righteousness shall live again.)

Luigi di Ruggiero (l’Armellino) and Vito di Marco are generally reputed to have devised and executed this design, but no record exists on the subject. The cost of restoration was 2,433 lire 91 c.

The Hellespontine Sibyl.

The inscription beneath the feet of this Sibyl says that she was born on Trojan soil, and was, according to Heraclides, a contemporary of Cyrus. Hence, no doubt, she also has been confused with the Erythraean Sibyl. It is very probable indeed, as we have before hinted, that time, tradition, and the varying expressions of different writers have divided the personality of that one Sibyl into several, according to the various places that she is reported to have visited.55

The figure is a graceful one, but suggests somewhat gigantic proportions. Her hair flows over her shoulders, though partially confined by ribbons, and crowned with a jewelled diadem. In her left hand she holds a half-open book. Her robe is loosely confined by a small girdle set with gems.

On her left, a tablet is borne by two columns, seated in front of which are a Wolf and a Lion (the Marzocco), with their hands amicably clasped: an allusion perhaps to the then recent treaty between Siena and Florence.56 The inscription on the tablet runs thus: