The  last,  and  one  of  the  best  Sienese  artists  whom  we  shall
mention  is  Lorenzo  di  Mariano,  called  H  Marina  or  Marinna,
who  about  the  year  1617  sculptured  the  very  beautiful  High
Altar  of  the  church  of  Fontegiusta,  which  is  traditionally
reported  to  have  been  carried  to  Rome  on  the  backs  of  mules
to  gratify  the  curiosity  of  Pope  Julius  II.  This  work,
which  rivals  the  marbles  of  Mino,  Desiderio  and  Rosellino  in
excellence,  consists  of  a  bas-relief  of  Christ  with  angels  in  the
lunette,  a  statuette  of  a  child  above  the  keystone  of  the  arch,
a  row  of  cherubs'  heads  around  the  door  of  the  central  tabernacle,
and  a  profusion  of  exqusitely  sculptured  birds,  scrolls,  griffins,
&c.  &c.,  about  the  frieze,  column-capitals  and  side-spaces.  The
portal  of  the  chapel  of  S.  Giovanni,  the  faQade  of  the  so
called  Libreria  in  the  Cathedral  (1497),  the  marble  decorations
of  an  altar  at  S.  Martino  (1522),  and  the  Marsili  altar  at  San

*  Probably  identical  with  Michael  Angelo  di  Bernardino  di  Michele.
Bee  Tasari,  vol.  viii.  p.  227,  voL  ix.  p.  18 ;  Cellini's  Autobiography,  pp.
59-e3.
70      Historical  Handbook  of  Italian  Sculpture.
FrHQcesco,  are  attribnted  to  the  same  charming  scnlptor,  who
died  ID  1684.
The  annalB  of  the  eixteenth  century  fninish  ns  with  no  other
artists  of  note  among  Sieneso  Bcalptore.  "With  the  loss  of
her  liberties,  Siena  seems  to  ha^e  lost  her  artistic  power,  and
when  she  was  added  to  Tuscany  under  the  sceptre  of  Cosmo
de'  Medici  in  1656,  she  brought  in  dower  no  new  names  worth;
to  rank  vitb  thoee  of  the  best  Toscan  scolptors.
Bt.  CuxuuiiB.    (Bt  0.  dall>  Qaaicli.)


BOOK    II.
■♦♦■


THE    EARLY    BENAISSANGE.
Chiberti  and  Donatello.  73


CHAPTER  I.
OHIBEBTI  Ain>  DONATELLO.
