Floor of Siena Cathedral

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“... Al più bello et al più grande e magnifico pavimento che mai feet stato fatto ...”

"... to the most beautiful and largest and most magnificent floor that has ever been built ..."

- Giorgio Vasari : Le vite de 'più eccellenti pittori, scultori e architettori (1568) / Domenico Beccafumi e Maestro di Getti
Giovanni Paciarelli, Plan of the Floor, Siena Cathedral, 1884

The floor of the Duomo of Siena is one of the largest and most valuable examples of a group of marble inlays, an ornamental project that took six centuries to complete, from the 14th to the 19th centuries. Like the cathedral, the floor is inextricably linked with the history of the city and its art . For this reason, the Sienese have spared no resources for their creation and then for their maintenance over the centuries. It consists of more than sixty scenes and is usually covered with masonite in the most frequently visited places , except once a year for about two months, between late August and late October.

history

The invention of marble decor is attributed to the master of Sienese painting Duccio di Buoninsegna , although there is no documentary evidence of this. The earliest evidence is from the beginning of work, around 1369, when payments were made to almost unknown artists (Antonio di Brunaccio, Sano di Marco, Francesco di Antonio) for the completion of the first episodes shown on the floor. It is believed that the first depictions were made on panels of the central nave, such as the wheel of fortune and the Sienese wolves surrounded by the symbols of the allied cities (from 1373), which were completely changed in the centuries that followed.

Alessandro Franchi, Ahab Mortally Wounded (1878), one of the last completed stories

An identifiable today inscription on a panel comes on 13 March 1406 when a certain Marquis di Adamo da Como and his helpers for the establishment of a "wheel" were paid at the door of the sacristy, which is the disk that the bravery is (which was completely reworked in 1839). Even then, there is evidence that famous artists provided templates to specialists who then produce the inlays, including: Domenico di Niccolò, picture carver and master builder, Sassetta and Domenico di Bartolo . Pietro del Minnella, cathedral builder, Antonio Federighi , Urbano da Cortona , Francesco di Giorgio Martini , Neroccio di Bartolomeo de 'Landi , Matteo di Giovanni , Giovanni di Stefano (son of Sassetta), Benvenuto di Giovanni and above all Luca followed in the 15th century Signorelli . The work of Guidoccio Cozzarelli , Pinturicchio and especially Domenico Beccafumi is documented in the 16th century .

The latter worked intensively between September 1521 and February 1547 on the templates for the inlays of the presbytery and introduced expressive techniques of great innovation, with a result that is quite comparable with the large pictures of the time.

In the middle of the 16th century the floor was almost completely finished and the phase defined as "classical" ended. Continuous restoration work followed with small additions and, above all, the replacement of panels damaged by use with copies. In 1780, the area in front of the Chapel of the Vow, a work by Bernini , with the figures of religion and theological virtues, was designed by Carlo Amidei and implemented by Matteo Pini. However, these works were not adequately appreciated and revised by Alessandro Franchi some ninety years later .

Extensive renovations and additions took place in the 19th century. In 1859 Leopoldo Maccari revised in part the story of happiness by Pinturicchio and the panel of Federighi with Seven people age , under the direction of Luigi Mussini, Italy's leading representatives of purism. In 1878 Franchi, again with the help of Mussini, drew the templates for a number of related episodes under the hexagon of the dome, replacing Three Parables and the Stories of Elias , which have now almost been eliminated. These additions are generally favored by critics for their "purist beauty," as Enzo Carli defined it for effective design and appropriate drama.

General topic

Beccafumi, Moses Letting the Water Flow from the Rock of Horeb (1524–1525), detail

The German Friedrich Ohly (1977) was the first to deal with the floor as a whole and looked for a common theme that linked the different episodes, starting from a figurative overall program that was implemented by the various artists over the centuries . He concluded that each scene is part of a representation of salvation in its various aspects. It begins with the figures on the forecourt (symbol of the Jews and Gentiles) who are excluded from salvation and therefore remain outside the sacred building, and the three orders of priests who introduce the believers by conveying their participation in divine revelation.

Inside, in front of the central corridor, Hermes Trismegistus symbolizes the beginning of earthly knowledge, the knowledge of antiquity, with a book that symbolizes East and West, as well as with words associated with the creation of the world. It is followed by a reference to the story and the setting, with stories symbolizing Siena and its deeds and allies, and a depiction of Fortune who sustains human destiny (Allegory of the Hill of Wisdom and Wheel of Fortune ). In the corridors, the Sibyls direct their gaze to Christ and recall the various areas of the known world.

In the transept, biblical stories from the era of Revelation represent a new stage in the development of the world. The central hexagon shows, in close connection with the Eucharistic celebration at the altar, sacrificial situations. On the other hand, the military acts of the Jewish people, with the inclusion of the massacre of the innocent as a comparison for the bloody content.

Ohly reports on several numerological classifications (seven, five) alluding to different theological meanings. Then follow the stories of the prophet Elijah and the journey of the lawgiver Moses with the Jewish people symbolizing the pilgrimage of the visitor to the cathedral. The stories of David close the biblical series and symbolically show Jesus the peacemaker.

The virtues in the right transept are not included in the original overall concept. These are works from the late 18th century that were created when the importance of the overall concept had obviously been lost.

description

Erythrean Sibyl

Cathedral Square

On the platform at the top of the stairs of the cathedral square, in front of the entrance portals, there are the first marble inlays with the representation of the Pharisee or the customs officer symbol of Jews and Gentiles, i.e. H. of the non-Christians who have no right to go to the temple and secure salvation for themselves. In front of the portals are the consecration ceremonies of Nastagio di Gaspare (around 1450, today a copy), with a deacon, a priest and a bishop, administrators of the order, who anticipate the sanctity of the building.

The Sibyls

In classical antiquity, the sibyl was a virgin who was endowed with prophetic virtues, as she was inspired by a god, usually Apollo . Their representations can be found along the corridors as symbols of the revelation of Christ to ancient mankind. They come from the different countries of the known world (they are divided into three groups, Greek, Italian and Oriental) and indicate the universality of the Christian message.

The commission for their figures dates from the years 1482–1483 by the rector Alberto Alberighi, and various artists have worked on a uniform style, with the figures generally made of white marble on a dark background and framed by a chessboard motif. They rest on a brick-colored plane and are each accompanied by inscriptions that facilitate their identification and symbols that illustrate their revelations about Christ and his life. The prophecies often come from the apologetic work of the early Christian centuries, the Divinae institutiones of Lactantius .

Stylistically, the Sibyls represent a homogeneous whole and are reminiscent of classical statues that elegantly surround the most complex allegories of the central nave. Few have been renovated over the centuries.

Right corridor

IMG Sibylle Artist year restoration description
Delphic Sibyl Delphica

(Greek) 		Giovanni di Stefano or Antonio Federighi (design attributed to),

Giuliano di Biagio and Vito di Marco (execution) 		circa 1482 1866-1869 The first sibyl is in front of the right aisle and is the work of stonemasons Giuliano di Biagio and Vito di Marco (around 1482), and was thoroughly renovated between 1866 and 1869 and is very worn because of its location. The drawing is attributed to Carli Giovanni di Stefano , son of Sassetta, or Antonio Federighi . She is elaborately draped and has a static pose, while on the right she holds the scroll with the inscription ipsum tuum cognosce deum, qui dei filius est ("Know your own God, who is the Son of God"), an allusion to the second divine nature . Below the inscription you can see a sphinx with open wings. In her left hand she holds an ornate horn from which flames emerge. Under her feet a scroll shows her name and the fact that she is mentioned by Chrysippus .
Cumaean Sibyl Cumaea

(Greek) 		Giovanni di Stefano (design attributed to),

Vito di Marco and Luigi di Ruggiero called l'Armellino (execution) 		circa 1482 1866-1869 Here she is depicted as an older woman with a troubled look, with loose hair scattered across her shoulders. She is holding a scroll in her hand. The inscription reads: et mortis fatum finiet, trium dierum somno suscepto tunc a mortuis regressus in lucem veniet primum resurrectionis initium ostendens («He will end the fate of death, he sleeps for three days, then he will return from the dead and come to the light and thus indicate the beginning of the resurrection »): an obvious allusion to the resurrection. Behind it, two little angels hold a plaque with the name of the Sibylle. It was executed by Vito di Marco and Luigi di Ruggiero, known as Armellino, based on a drawing by Giovanni di Stefano .
Cuman Sibyl Cumana

(Italian) 		Giovanni di Stefano 1482 1866-1869 The third Sibyl, known for being visited by Aeneas , is instead a documented work by Giovanni di Stefano , evidenced by a payment made on July 19, 1482. Mentioned by Virgil in the fourth eclog, it was famous in the Middle Ages as the harbinger of the coming of Christ. The inscription carried by two little angels in flight actually comes from Virgil: ultima cumaei venit iam carminis aetas magnus ab integro saeclorum nascitur ordo iam redit et virgo, redeunt saturnia regna, iam nova progenies caelo demittitur alto («The last age came after the Prophecy of the Sibyl of Cumae and the great succession of centuries begins again. Already the virgin Astraea is returning, the reign of Saturnus is returning, new offspring are already being sent from the high heaven ») She appears as an old woman, of a certain kind Rigor, with a veil around the head. With her right hand she is holding the mistletoe from the Vergilian tale and with her left hand she is holding three books. Another six, the Sibylline books destroyed in the Legend of Tarquinio , burn on the ground to their right.
Erythrean Sibyl Erythraea

(Greek) 		Antonio Federighi (designer) 1482 1866-1869 This sibyl is named after the place of birth Erythre, in Lydia in Anatolia (and not from the African region). Antonio Federighi was paid for the figure on July 19, 1482, and today it is almost completely restored. However, there is nothing reminiscent of the Sienese sculptor's style, except for the signature at the foot of the lectern. Lactantius ascribes to her the famous acrostic who heralds the coming of Christ in the Sibylline Books . Here she is depicted as a high patrician, with a rather strict demeanor, an elegant dress and a very curious headgear that partially covers her face. Her right hand holds a closed vessel, while the left leans on an open book carried by the carved desk. On the pages of this book is the sentence: de excelso caelorum habitaculo prospexit dominus humiles suos et nascitur in diebus novissimis de virgine habraea in cunabulis terrae («From the lofty dwelling of heaven God has fixed his gaze on his humble servants; he becomes in the the last days of a Jewish virgin to be born in the cradle of the earth »), which is seen as a prophecy of the birth of Jesus.
Persian Sibyl Persica

(oriental) 		Benvenuto di Giovanni (design attributed to) 1483 1866-1869 The last sibyl in the right aisle is the only one in the series made in 1483. On October 3rd, Urbano da Cortona was paid for the design. Located in front of the bell tower door, it suffered a great deal of wear and tear and was extensively restored between the 18th and 19th centuries. She is portrayed as a pleasant middle-aged woman with her head wrapped in a simple veil and draped in a fluttering veil. She is holding a book in her left hand and with her right she directs her attention to a table on a lectern with a triangular base. The inscription: panibus solum quinque et piscibus duobus hominum millia in foeno quinque satiabit reliquias tollens xii cophinos implebit in spem multorum («With five loaves and two fish the hunger of five thousand people in the field is satisfied. The leftovers fill twelve baskets for hope many »), alluding to the miraculous multiplication of bread . The prophecy ascribed to it is the only one that is not concerned with the birth or redemption of Christ. A table under her feet informs her that it is Nicarone who will bear witness of her. Enzo Carli assumed that Benvenuto di Giovanni had contributed to the design due to the similarities with the Sibilla Albunea .

Left aisle

IMG Sibylle Artist year restoration description
Libyan Sibyl Lybica

(Italian) 		Guidoccio Cozzarelli (designer) 1483 1866-1869 It is located at the beginning of the left aisle and is of African descent with dark skin: the face, neck, hands and feet are made of black marble and create a remarkable effect. The head is veiled and crowned with a corolla of flowers. She has an unrolled scroll in her left hand and an open book in her right hand. The inscription reads: colaphos accipens tacebit dabit in verbera innocens dorsum ("He will be beaten and be silent. He will offer his innocent back to the blows"). To her left is a plaque carried by twisted snakes with the following inscription: in manus iniquas veniet. dabunt deo alapas manibus in cestis. miserabilis et ignominiosus. miserabilibus spem praebebit ("He will fall into unjust hands. With unclean hands they will whip God. Wretched and shameful he will combine hope with the wretched"). The two inscriptions refer to the flagellation of Jesus. The drawing is attributed to Guidoccio Cozzarelli due to a mention in the Chronicle of the Sienese Tizio with the year 1483.
Hellespontic Sibyl Hellespontica

(Greek) 		Neroccio di Bartolomeo de 'Landi (design) circa 1483 1864-1865 The inscription under the feet of this sibyl says that she was born on Trojan soil and that, according to contemporary opinion, she is identical to Cyrus . The figure is graceful, conveys somewhat gigantic proportions. The physiognomy and the composed elegance are reminiscent of the style of Neroccio di Bartolomeo de 'Landi , and are dated to 1483. Her hair is crowned with a diadem of jewels and falls freely on her shoulders, albeit partially separated by ribbons. She is holding a half-open book in her left hand. Her dress is barely held at the waist by a small, jeweled belt, and to her left is a table resting on two pillars, in front of which sit a wolf and a lion, friendly paws: it is perhaps an allusion to the treaty between Siena and Florence ; Another interpretation sees the two animals as symbols for Jews and Gentiles who were redeemed through the divine sacrifice. An inscription reads: in cibum fel in sitim acetum dederunt hanc in hospitalitatis mostrabunt mensam; templi vero scindetur velum et medio die nox erit tenebrosa tribus horis ("They gave him bile and vinegar for his thirst; they will show him the table of inhospitability. In truth, the veil of the temple is torn apart and in the middle of the day it lasts for three hours give dark night »), which alludes to the last moments of Jesus' life and his death on the cross.
Phrygian Sibyl Phrygia

(Greek) 		Benvenuto di Giovanni (design, attributed),

Luigi di Ruggiero and Vito di Marco (execution) 		circa 1483 1864-1865 From the accompanying table one can see that this Sibyl, about whom there is little information in general, prophesied in Ankara . She is attributed to Benvenuto di Giovanni (1483, like the others in this area) and is dressed as the artist thought up a Phrygian or semi-oriental dress. With her left hand she holds an open notebook with the inscription: solus deus sum et non est deus alius ("I am the only god and there is no other god"). Her right indicates a plaque above two lyre-shaped supports, between which the torsos and heads of naked figures appear pleading, seeming to come out of a grave. Another inscription reports: tuba de caelo vocem luctuosam emits tartareum chaos ostendet dehis cens terra veniet ad tribunal dei reges omnes deus ipse iudicans pios simul et impios tunc denum in pios in ignem et tenebras mittet qui autem pietatem tenet iteru be vivent ("From heaven the trumpets sound a deathly sound. The opening earth will reveal the Tartar chaos. All kings will appear before the tribunal of God. God himself judges the pious and the wicked at the same time, only the wicked he will throw into the fire of darkness. Those who keep justice but will live again ") and refer to the final judgment. The traditional attribution showed Luigi di Ruggiero and Vito di Marco as authors, who were more likely to be the mere performers.
Sami Sibyl Samia

(Greek) 		Matteo di Giovanni (design) 1483 1864-1865 This sibyl made Samos her main residence, although she was born in Troas ; as Eratosthenes told us . It is signed by Matteo di Giovanni and dated 1483 on the panel. Depicted as a slender princess with fluttering fabrics and ribbons in her hair, she is holding an open, richly bound book in her left hand. A strange and characteristic trait of Matteo's work is the pretty cherubino head with elongated wings that closes a belt around her robe under her hips. The plaque next to her, carried by two lion-headed figures, contains the inscription: tu enim stulta iudaea deum tuum non cognovisti lucentem mortalium mentibus sed et spinis coronasti orridum que fel miscuisti («For you, stupid Jew, have not recognized your God and shine in the spirit of the people. But you crowned him with thorns and gave him bitter bile »), an indication of the skepticism of the Jews in the recognition of Christ.
Tiburtine Sibyl Tiburtina or Albunea

(Italian) 		Benvenuto di Giovanni (draft) 1483 1864-1865 A payment to Benvenuto di Giovanni on May 18, 1483 (Pecci, 1752) is linked to a drawing of a figure on this subject in the last part of the left aisle. It was restored between 1864 and 1865. She is an elegant and slim figure, with a monumentality typical of the artist. Dressed in rich drapery, with fluttering veils on the sides and a pointed headgear. The dynamic motif of the veil is slowed down by symmetry and reinforces the calm statue of the figure. The inscription on the tablet, which is connected to a cherub at the top right, reads: nascetur Christ in Bethlehem, annunciabitur in Nazareth, regnante tauro pacifico fundatore quietis. o felix Mater cuius ubera illum lactabunt ("Christ will be born in Bethlehem and be proclaimed in Nazareth, while the peaceful Taurus, the founder of rest, rules. O happy the mother whose breast will suckle him").
The Sienese wolves

Main course

The area under the arches of the central nave was probably the first to be decorated, perhaps first done in mosaic and later in marble ( opus sectile ), which was used for the entire floor of the cathedral.

In addition to inlaid marble in different colors, the figures were then grooved at the edges and then filled with pitch to highlight small dark spots.

The wear and tear along the central passage resulted in none of the figures being original today, but the revision over the centuries had to be very faithful, given the original technique of mosaic in perhaps the oldest scene, the Sienese she-wolf and the symbols of the allied cities around, was retained.

With the exception of the figure of Hermes Trismegistus, this area is stylistically similar to the Sibyls. It is shaped by allegorical representations rather than characters or narrative scenes to emphasize the breadth of the message of this important part of the building.

IMG theme Artist year restoration description
Pavimento di siena, ermete trismegisto (giovanni di stefano) 01.jpg Hermes Trismegistus Giovanni di Stefano

(design attributed to) 		1488 ? The first scene in front of the central corridor, which also contains the inscription castissimum virginis templus caste memento ingredi , shows Hermes Trismegistus , a wise Egyptian who is mentioned as the keeper of all ancient wisdom, i.e. as a symbol for the beginning of earthly knowledge. The wise man's headgear is a reinterpretation of Mercury's winged helmet. As the cartouche at his feet explains, he was considered a contemporary of Moses : hermis mercurius trismegistus contemporaneus moysi . He is portrayed as an oriental sage offering a book to two other men with his right hand, while his left hand is resting on a quote written on a board supported by two winged sphinxes . The two men performing an act of reverence could perhaps be the typologies of the wise men in East and West. The inscription reads: deus amnium creator secum deum fecit visibilem et hunc fuit primum et solum quo oblectatus est et valde amavit proprium filium qui appellatur sanctum verbum . It is an allusion to creation that took place through the "sanctum verb" and this prophecy is a passage from Pimander , one of the texts of the Corpus Hermeticum . On the other hand, the pages of the book refer to Egypt as the seat of ancient wisdom, to which the two sphinxes probably also refer : suscipite o licteras et legis egiptii . The book describes the main functions of Hermes: lawgiver, inventor of writing, philosopher and priest. The work has been dated 1488 and attributed to Giovanni di Stefano based on similarities to the Sibilla Cumana .
Pavimento di siena, lupa senese tra i simboli delle città alleate 01.jpg The Sienese she-wolf among the symbols of the allied cities Unknown (revised by Leopoldo Maccari) circa 1373 1864-1865 The second panel is organized around a large circle containing a depiction of the Sienese she-wolf suckling the twins Senius and Aschius , surrounded by totem animals from a number of allied cities: the horse of Arezzo , the Marzocco lion of Florence, the The Panther of Lucca , the Rabbit of Pisa , the Unicorn of Viterbo , the Stork of Perugia , the Elephant of Rome and the Goose of Orvieto

These are very old, often outdated, symbols and are probably chosen to represent a varied series: Rome, for example, is not chosen as the Capitoline Wolf , which is similar to the Sienese. At the four corners there are more circles with the lion from Massa Marittima , the eagle from Volterra , the dragon from Pistoia and the griffon vulture from Grosseto . Apart from Rome, the cities selected are ideally part of the territory of Tuscany , including the cities that are now in Umbria or Upper Lazio. This panel is the only one in the mosaic of which there are still some very worn original pieces in the Museo dell'Opera del Duomo . It goes back to the year 1373, matching the Gothic inscriptions on the depiction. It comes from an unknown author and was renewed in 1864–1865 by Leopoldo Maccari.

Pavimento di siena, aquila imperiale 01.jpg Unknown circa 1374 after 1865 The depiction is more decorative and shows a wheel or a large dome rosette made up of small columns and pointed arches. In the center is the double-headed eagle , symbol of the Holy Roman Empire , which refers to the Ghibelline loyalty of the city, the continuity of Siena to the Roman world and the importance remembered the highest civil power of the Middle Ages. Although this area was completely renovated in the 19th century, stylistically it can be dated to a time immediately after the she-wolf.
Pavimento di siena, allegoria del colle della sapienza (pinturicchio) 01.jpg Allegory of the Hill of Wisdom Pinturicchio (design),

Paolo Mannucci (execution) 		1505 1859 The rector Alberto Aringhieri commissioned Pinturicchio with this scene in 1505 . The execution was carried out by Paolo Mannucci. Pinturicchio, who was paid on March 13 or 15 of this year, was working on the Piccolomini library at the same time , apparently with the assistance of the young Raphael . The rectangle shows a complex allegory of Fortune and Wisdom. The first is depicted as a naked woman with one foot on a ball (symbol of impermanence) and the symbol of success, a cornucopia and sails swollen by the wind. The left foot rests on a broken mast boat that a group of sages used to arrive on the hill of wisdom that dominates the scene. On a steep path littered with stones, small plants and animals (symbols of vices), they try to reach the top of the hill where wisdom (or peace) sits, holding a book and the palm of victory. At his side Socrates , for whom the palm (whose suicide is considered a martyr's death) is destined, and Krates von Thebes , who empties a basket full of jewels and coins into the sea, a symbol of renunciation of the illusory happiness of material wealth. It's stormy around the sea. The message of the allegory, which is already clear in itself (virtue can be achieved, but with difficulty), is also clarified by the cartridge above wisdom: huc properate viri: salebrosum scandite montem pulchra laboris erunt premia palma quies .
Pavimento di siena, ruota della fortuna.jpg Unknown (revised by Leopoldo Maccari) 1372 1864-1865 The last rectangle of the central allegories represents the wheel of fortune remembered by the Sienese historian Tizio as it was executed in November 1372. The scene, which was badly worn due to its location, was revised in the 18th century (as Faluschi recalled) and completely replaced by Leopoldo Maccari in 1864–1865. The motif refers to a theme that is very dear to medieval art and is often depicted on the facades of churches. The wheel represents human events and is depicted as a circle supported by eight concentric pillars on which a king sits on a throne, with three figures embracing the wheel at the lower, right and left ends. The whole is surrounded by a mixed frame, with a diamond in the middle and four hexagons at the corners, representing the four ancient philosophers: Epictetus , Aristotle , Euripides and Seneca . Each of them holds a scroll with inscriptions related to the theme of luck. The wheel today is associated with the nineteenth-century purism, which blends well with the complex of the floor, but its original appearance must have been more expressive, perhaps similar to a similar depiction of Dominic de Nicholas in the choir of the chapel of the Palazzo Pubblico , where the characters are more satirical than moralizing, coupled with a motto that indicates the turn of fate:

"regno, regnabo, regnavi, sum sine regno".

Detail of the massacre of the innocent

Left transept

In the area of ​​the crossing, the representations are no longer the figures of antiquity and allegories, but subjects of Jewish history, i.e. the "sub lege" period after divine revelation. These are great scenes in terms of the size and richness of the narrative, overflowing with many, sometimes too many characters, a trait common to most scenes in the Fourth.

There are precise references to local history in the biblical narratives, a subject that is particularly dear to the Sienese. This close connection between civil and religious life manifested itself early on in Siena, such as the frescoes with a contemporary historical theme in the Palazzo Pubblico or, for example, the invocation on the inscription in to Maria "sis causa Senis requiei" ("Peace guarantee to Siena") the Maestà of Duccio di Buoninsegna , who is on the main altar of the cathedral.

Even on a key work like the floor of the cathedral, the dream of power and greatness of the Sienese, then the largest state in Tuscany, is referred to through the battle scenes of the Jewish people, in which they can glorify their own events.

The evangelical scene of the Massacre of the Innocents was probably chosen similar to the other scenes because of its bloody content, but it has also been found to cast almost a shadow of recognition on the glorious but traumatic end of Siena's independence.

IMG theme Artist year restoration description
Pavimento di siena, cacciata di erode (benvenuto di giovanni) .jpg Expulsion of Herod Benvenuto di Giovanni

(draft) 		1485 1869-1878 The first scene you come across is Herod's Expulsion, a large scene that Benvenuto di Giovanni was paid for in 1485 (restored 1869-1878), surrounded by a precious frieze of pair of lions designed by Bastiano di Francesco in 1484 . The design comes from Jewish Antiquities of Flavius Josephus , the text of which is shown on a blackboard, supported by four angels in flight, in the middle of the dark sky. The center of the scene is dominated by a fierce battle, a very rare subject in Sienese painting. The view to the left of the city resembles Siena with its walls , while the depiction of the eagle's nest attacked by a snake in a central position near the fortress probably recalls the events of 1482 when the tyrant Pandolfo Petrucci was driven from the city.
Pavimento di siena, strage degli innocenti (matteo di Giovanni) 01.jpg Massacre of the innocent Matteo di Giovanni (design)

Francesco di Niccolaio or Nanni di Piero di Nanni (execution) 		1481-1482 1790 During the "construction" of this part of the land, Italy was shocked by the terrible sacking and destruction of Otranto in 1480 , as was the Duke of Calabria , who freed it from the invaders the following year. Many people were massacred and most of the children were sold as slaves. So great was the dismay that Pope Sixtus IV drew the cities' attention to the disaster, insisting that none of them are safe. He asked them to put aside their political struggles to join the common defense against the Muslims .

The scene, created in 1481 and paid for in 1482, was designed by Francesco di Niccolaio and Nanni di Piero di Nanni based on a design by Matteo di Giovanni and restored in 1790 by Matteo Pini and Carlo Amidei. The lively scene takes place in front of a horseshoe-shaped portico on which there is a valuable frieze of duelists in the classical style. On round balconies, some spectators followed the event with a touch of complacency and fun, as if they were in the theater. King Herod sits on a magnificent Renaissance throne made of carved marble and commands the massacre of his soldiers. The technique differs from that in the nave in that a larger number of colored marbles are used to create areas of shadow and light. According to a process that is perfected and that culminates in the scenes designed by Beccafumi .

Pavimento di siena, storie di giuditta (francesco di giorgio) 01.jpg History of Judith Francesco di Giorgio Martini or Urbano da Cortona (design attributed to) 1473 1790 This panel also shows a far-reaching scene surrounded by a "naspi" frieze, ascribed in Tizio's chronicle to Urbano da Cortona , who worked on it in 1473. More recent studies, such as that of Carli, instead have the name Francesco di Giorgio Martini because of close similarities, such as the figure of Judith and the many young girls painted by the Sienese master, or because of the "ideal" surroundings for looking at the city, received. The scene, which was extensively restored by Carlo Amidei and Matteo Pini in 1790, tells the story of Judith of Betulia. To save her own city, she kills the leader of the Assyrian sieges after getting him drunk in his camp. She is shown returning to the city with her maid, with the tyrant's head in a basket. Meanwhile, in front of the walls, the Jewish cavalry throws itself into a victorious battle against enemies without commanders. There are numerous classical quotations, especially in architecture, decorated with garlands and tombstones with humanistic busts.

Right transept

In the right transept, the floor decoration is primarily not related to the stories of the Old Testament and presents a certain variety of styles and techniques. In addition to the stories of Absalom and Jiftach, there is the unusual depiction of Emperor Sigismund, and in the area in front of the Vow Chapel (or Chigi Chapel) there are allegorical figures from 1780 (renewed ninety years later with an identical motif). As in the left arm of the cross, the entire area is divided into three groups. The upper one, divided in two, shows the scene of the emperor and the death of Absalom . The middle one shows the complex, figurative stories of the victim Jiftach. The lower one is occupied by the small allegories in front of the Vow Chapel, an important city sanctuary. Because of this, the stories are related to her and not to the rest of the Church. At the level of the last group, corresponding to the central hexagon, there is a triangle with geometric decorations.

IMG theme Artist year restoration description
Pavimento di siena, imperatore sigismondo (domencio di Bartolo) .jpg Emperor Sigismund and his ministers Domenico di Bartolo 1434 circa 1865 The Emperor Sigismund visited Siena and the citizens sincerely hoped that he would take part in the war against Florence: for this reason, his figure is one of the theaters of war, as the protective deity of an impending conflict. The emperor sits on a throne under a Renaissance aedicule, with a niche, a frieze with oculi , columns and garlands. Two putti hold heraldic shields with a double-headed eagle. On the steps in front of the throne there are six seated or standing figures who can be identified as dignitaries, civilians and soldiers because of their clothing. The scene was given by Domenico di Bartolo in 1434 and is an important testimony to the renewal of Renaissance themes in Siena: the use of the perfect central perspective in the 1930s is an achievement that was sporadically used in Florence itself in the same years. The panel was restored in 1485 and again in the second half of the 19th century.
Pavimento di siena, storie di assalonne (piero del minnella) 02.jpg Death of Absalom Piero del Minella (designer) 1447 ? Framed by Gothic three-part hanging arches, it depicts the punishment for Absalom , David's rebellious son, who fled and got his hair caught in a tree, where he was caught up and killed by his father's followers. The story is made clear by the inscription that leads to the base of the scene: absalon vidi pender pe 'capelli, poi che fedò la camera paterna, e tucto era' nflizato di quadrelli . Around the hanging figure of Absalom stand two groups of warriors, ideally connected by the lines of spear rods that pierce the prince. The style is characterized by a clear compositional clarity, with some Gothic style elements, such as the rather nervous contour lines and the shape of nature, such as the leaves of the trees, which are shown individually. It is the work of Pietro del Minnella, the builder of the cathedral, who also worked in Orvieto and created it in 1447.
Pavimento di siena, storie di iefte (neroccio di bartolomeo de 'landi) .jpg Jiftach's victim Neroccio di Bartolomeo de 'Landi

(design attributed to), Bastiano di Francesco (execution) 		1481-1485 The story of Jiftach is told in the Book of Judges (11, 29–40) and is framed here by an elegant frieze of opposite dolphins, shells and palm trees. Against the background of a wide landscape with a walled city on top (from which typical Renaissance buildings protrude), mountains and a military camp, the battle between the troops of the Jewish judge Jiftach and the Ammonites takes place. On the left Jiftach gives orders to his men on his horse, disguised as a Roman emperor, and next to him we see two young elegant soldiers talking. In the background, Jiftach returns to the victorious city, meets his daughter and hints at the sacrifice he had promised God in exchange for victory. In the central temple, top left, the sacrificial scene for the fulfillment of the vow takes place. The stonemason Bastiano di Francesco was paid for this work, which he did from 1481 to 1485 based on a design attributed to Urbano da Cortona or Neroccio di Bartolomeo de 'Landi . Numerous details were defined as "neoclassical harmony", such as the dynamics of the horses in battle or the way in which the Moorish warrior is presented in the foreground. Details relating to an ancient 15th century taste of Siena. Until 1661, that section of the floor remained at the Door of Forgiveness.
Duomo di Siena, Sette età dell'uomo.jpg Seven ages of man Antonio Federighi 1475 1869-1878 In front of the chapel of the vow there are four panels, one of which is completely filled with geometrical figures around a lily; follows a hexagonal motif with a diamond in the middle, all of which are framed by a frieze with dolphins and an ornament. Here are the representations of the seven ages of man ( toddler, child, youth, adolescence, adult and old age ; frailty in the central diamond ), represented by a whole male figure and a floral motif, with the exception of the frailty that comes with crutches open grave goes. To the right of each figure there is a large inscription that indicates the different age groups. This work was completely redesigned in the years 1869–1878 by Leopoldo Maccari and Giuseppe Radicchi and replaced that of Antonio Federighi, which is now in the Museo dell'Opera del Duomo . Federighi was paid for the final scenes on April 24, 1475.
Giovanni paciarelli, schema del pavimento del duomo di siena, 1884, dett 2.jpg Religion and Three Theological Virtues Alessandro Franchi 1870 (1780) The area immediately behind the Cappella del Voto was not decorated until the 18th century and it is not known whether this area was decorated as early as the 15th century or not. The personification of religion is depicted (in a square in the middle, at the entrance to the chapel) and three theological virtues (in hexagons on the sides and in an oval in the middle), a new version of the figures of a similar but not appreciated motif of Carlo Amidei and Matteo Pino wears priestly clothing and has open wings that hold the shepherd's staff and the keys of the Kingdom of Heaven within a church architecture; she has the veiled face, which means the divine unfathomability. The virtues stand for "hope", "faith" and "love". The first, in particular, is seated on a Renaissance-style seat supported by an anchor and has an inspired expression without being expressive.

Central hexagon

Central hexagon

The large central hexagon under the dome is divided into six more hexagons and a central seventh, all of which are the same size, and to fill in the corners of the larger hexagon, six diamond-shaped squares are required, each oriented differently. Each area is surrounded by an elegant spiral frieze with plant motifs and another woven ribbon designed by Beccafumiano. Reading the scenes does not follow a rigorous logical scheme, but goes from one square to another with interruptions and changes in meaning. It tells of the triumph of the prophet Elijah over the priests of the god Baal, protected by King Ahab (1 Kings 17-22). Based on the biblical text, we start in the diamond on the right (Elijah being fed by a crow in the desert) to continue counterclockwise in the lower diamonds (encounter with the widow and the resurrection of her son), and then in to continue with the upper diamonds, always from right to left (Elijah sends Obadja to summon King Ahab and the arrival of the ambassador from Ahab) and in the central hexagon to continue with the covenant between Elijah and Ahab. The stories then come to life through the challenge between the priests of Baal and Elijah (hexagons in the top left and top center), after the last diamond, the one on the left, in which Elijah anoints Jehu, King of Israel, according to divine instructions. It then continues with the lower right hexagon (Elijah predicts the death of Ahab) and the lower left (Ahab was wounded to death in battle) to end in the lower central one, with Elijah being abducted by the chariot.

The history of the furnishing of this area is quite complex: the main altar of the cathedral was located here, which was already obsolete in the 14th century and later restored by Baldassarre Peruzzi (1532). Until March 15, 1375, the parable of the beam must have been present in this area of ​​the floor in an ogival niche, again within a hexagonal frame, flanked by the triangles of the parable of the two blind by Antonio Federighi (1459) and the obolus of Widow of Domenico di Niccolò (1433). The precarious condition of these scenes necessitated their replacement in 1878, and a decision was made to complete the story of Elijah through Beccafumi in the other parts of the hexagon. The commission was entrusted to Alessandro Franchi, who also revised the other stories of the Prophet, the work of Beccafumi's pupil Giovan Battista Sozzi (1562).

Beccafumi's involvement in the flooring construction site began in 1519 with the stories of Elijah. Stylistically, these scenes show the influences of Raphael (combinations reminiscent of tapestries for Leo X) and Michelangelo (strong movements of the figures that appear inspired by the vault of the Sistine Chapel), which are related to the return of the artist from his second trip to Rome.

While the admiration for Beccafumi's scenes is almost unconditional, in recent years Alessandro Franchi's work has also garnered the attention it deserves because of its undeniable compositional and graphic quality, as well as its ability to fit into the decorative complex of the Renaissance without undue breaks.

IMG theme Artist year description
Pavimento di siena, esagono, elia nutrito dai corvi nel deserto (franchi) .jpg Elijah is fed by crows in the desert Alessandro Franchi

(designer) 		1878 The stories begin with a scene of Elijah being fed by crows in the desert who bring him breadcrumbs during his exile, which God commanded during the time of famine (1 Kings 17: 6). The dryness had been wanted by God, who accused his people of having abandoned him in favor of the god Baal . Elias was in fact the last priest of God, around 450 from Baal. Designed by Franchi, it shows a detached and synthetic objectivity that is typical of purism.
Pavimento di siena, esagono, elia incontra la vedova nel bosco (franchi) .jpg Elijah meets the widow in the forest Alessandro Franchi

(designer) 		1878 On the way to Sarepta, Elijah met a widow who brought him to his house, where the prophet performed a miraculous increase in food during the famine (1 Kings 17:10). A simple and effective composition by Franchi, set in a bare clearing, with the two protagonists in balanced, opposing poses.
Pavimento di siena, esagono, elia resuscita il figlio della vedova (franchi) .jpg Elijah gives life to the widow's son Alessandro Franchi

(designer) 		1878 After the widow's son died from illness, Elias brought him back to life to show the woman the power of God. Faithful to the biblical text, the prophet is depicted lying on the child and calling on the Eternal (1 Kings 17:21). It was designed by Alessandro Franchi and shows a composed representation of the tragedy, whereby the naked environment of the children's room is well adapted to the intense and at the same time measured pose of the prophet in prayer.
Pavimento di siena, esagono, abdia reca ad acab il messaggio di elia (beccafumi) .jpg Elijah orders Obadiah to bring Ahab to him Domenico Beccafumi

(designer) 		1519-1524 Obadiah, the servant of King Ahab ], meets Elijah when he is searching the land for fresh grass to feed his cattle on the king's orders (1, Kings, 18, 7). The prophet ordered him to tell the king that he would appear in Jerusalem today. This scene and the following are by Beccafumi and are characterized by the less common black marble background, which made Cecchini think of the work of his pupil Giovanni Battista Sozzini. However, it is more likely that the peculiarity is due to the small size of the lozenges to make the figures stand out.
Pavimento di siena, esagono, elia ordina ad abdia di recargli acab (beccafumi) .jpg Obadja brings Ahab the message of Elijah Domenico Beccafumi

(designer) 		1519-1524 We see Obadiah delivering Elijah's message to King Ahab and inviting him to meet the Prophet at a certain place (1 Kings 18:16). This scene also comes from Beccafumi and, together with the previous one, forms the only original diamond pattern of the central hexagon from the 16th century.
Pavimento di siena, esagono, patto tra elia e acab (beccafumi) .jpg Pact between Elijah and Ahab Domenico Beccafumi

(designer) 		1524 In the central hexagon, the figures of King Ahab on the left and Elijah on the right can be seen, surrounded by two symmetrical groups of people who are tall, slender and dressed in elegant clothes, especially the royal ones who have a turban, wide sleeves and fur trimmings . Elijah points to a hill on which there is a tree that has been destroyed by drought and on which they are dragging two oxen to sacrifice them. One is offered to Baal by his priests and the other to God by Elijah, so that the king can see in the presence of the whole people which cult is true and which is fictitious (1 Kings 18, 17-19). In the background you can see the walls of the city. This was the last hexagon made by Beccafumi , paid for on June 18, 1524. Here the artist captured the motifs of the 15th century floor scenes with a black marble sky.
Pavimento di siena, esagono, sacrificio dei sacerdoti di baal (beccafumi) .jpg Sacrifice of the Baal priests Domenico Beccafumi

(designer) 		1519-1524 The next two hexagons show the two victims. The sacrifice for Baal, which Elijah has offered first, is made impossible because the fire cannot be lit. The priests stand gesticulating around the altar, which is not able to perform the sacrifice. They have come to induce divinity themselves, while Elijah in his monumental majesty extends an arm as if to mock them and shows the people the uselessness of the pagan cult (1 Kings 18, 25-29). The panel was designed by Beccafumi .
Pavimento di siena, esagono, sacrificio di elia (beccafumi) .jpg Sacrifice of Elijah Domenico Beccafumi

(designer) 		1519-1524 The sacrifice of Elijah, on the other hand, has a completely different result, with the divine flames that rain from heaven and ignite the pyre, even though it was wet and green wood. The miraculous event amazes all bystanders (1 Kings 18, 30–39). Elijah is shown kneeling on the left, while on the other side Baal's priests are frightened. This is also suggested by the figure who fell on the stairs in the foreground, knocking over an amphora with which the wood was soaked. The picture is based on a drawing by Beccafumi and is characterized by the richness of its characters, who differ in their poses and attitudes, but have all been combined into a harmonious symmetry concept in the style of Raphael.
Pavimento di siena, esagono, uccisione dei sacerdoti di baal (beccafumi) .jpg Killing the Baal priests Domenico Beccafumi

(designer) 		1519-1524 Elijah therefore ordered the people to kill all the priests of Baal, and the massacre takes place in the foreground with swords, sticks and stones. In the background, Elijah shows King Ahab how the end of idolatry is estimated by God who sends the first rain cloud (1 Kings 18, 40–45). The end of the drought is shown by the tree in the middle of the scene, which is already lush (while it was dry in the scene of the "Pact"). The drawing of Beccafumi distinguished by its compositional balance and elegant style of the action.
Pavimento di siena, esagono, elia unge iehru re d'israele (franchi) .jpg Elijah anoints Jehu king of Israel Alessandro Franchi

(designer) 		1878 To avoid Isabel's revenge , Elijah goes back to the desert. God sends him from the desert to Damascus , where he meets Jehu , who is destined to become the new king of Israel. Elijah anoints him at the Lord's request (1 Kings 19: 15–16). It was designed with essential simplicity based on a design by Alessandro Franchi. Elijah gives oil in the name of God to which he raises his left hand, the young man who humbly kneels at his feet.
Pavimento di siena, esagono, elia predice la morte di acab (franchi) .jpg Elijah foretells the death of Ahab Alessandro Franchi

(designer) 		1878 King Ahab entered the war and won several victories. But he commits a grave crime by killing Nabot, a man who had a vineyard near his palace to take possession of. At this point, Elijah predicts his imminent death. The scene shows the dejected king at the prophet's feet (1 Kings 21, 21-22). Perhaps the most emotional of Franchi's scenes, like the other hexagons he was working on, is characterized by the use of white, yellow, and blue for the mosaics. The traditional technique was used to add hatching by filling grooves with black pitch.
Pavimento di siena, esagono, morte di acab (alessandro franchi) 01.jpg Ahab was fatally wounded in battle Alessandro Franchi

(designer) 		1878 The next hexagon shows the fulfillment of prophecy. Ahab, who had tried to hide under his soldiers, was nevertheless hit by a randomly fired arrow below the armor. The scene shows the final moments of the king as he watches the development of the battle from the chariot. The sacred text writes: "But since the battle was fierce that day, the king stood upright in the chariot fighting the Arameans. In the evening he died. The blood from the wound had flowed into the inside of the chariot. At sunset it was left exclaim in the camp: "Let everyone go back to his city, to his country!" So the king died; he was brought to Samaria and buried there. When the cart was washed out in the pool of Samaria, dogs licked his blood and prostitutes washed in it. according to the word that the Lord had spoken. " (1 Kings 22, 35-38). Dogs are actually shown licking the dripping blood. Another scene by Franchi resolved with a balanced recourse to emotions without any pathetic tones.
Pavimento di siena, esagono, elia rapito in cielo col carro di fuoco (franchi) .jpg Elijah is carried off to heaven by a chariot of fire Alessandro Franchi

(designer) 		1878 The conclusion of Elijah's stories is his abduction in heaven on a chariot of fire (2nd Kings, 2, 2, 11). In this, as in all other large scenes within the hexagons, inscriptions on panels report on the biblical text, which clarifies the dynamics of the narrated events. The chariot stands between the flames and the fiery horses drawn up by angels. The Prophet stretches out his arms halfway between the surprised and the curious who want to know the divine truth. It's the most visionary scene in franchis.
Beccafumi, Moses draws water from the rock of Horeb, detail

Story of Moses

Moses breaks the tablets of the law, details

The large rectangle above the central hexagon, located between the expulsion of Herod on the left and the scene of Emperor Sigismund on the right, is decorated with the Stories of Moses, a great work by Beccafumi , who worked from 1525 to 1547 worked on it.

Below the main panel, in which several scenes are put together without interruption, there is a long and narrow ribbon in which Moses is shown letting the water flow from the rock of Horeb . Beccafumi's work, which was created at the height of his development, was only one of the most prestigious works the artist had in the city at the time. The frescoes in the apse of the cathedral were unfortunately damaged by the earthquake of 1798 and had to be partially replaced.

Beccafumi's work in this panel and in the area of ​​the high altar is very different from all other scenes, including those previously created in the hexagon. It makes technical sense to no longer highlight the shadows by hatching, but by inserting marbles of different shades. Thanks to the better possibilities of creating light and shadow effects and thus volume, an effect of great plasticity and expressiveness was achieved.

These scenes aroused the greatest admiration and honors of writers of the 17th, 18th and early 19th centuries. The frieze that surrounds them was also designed by Beccafum.

  • Moses receives the legal texts, original drawing by Beccafumi

  • Aaron and the Israelites, original drawing by Beccafumi

  • Cast of the golden calf, original drawing by Beccafumi

  • Cast of the golden calf, original drawing, detail

  • The golden calf, original drawing by Beccafumi

  • Punishment of the Israelites, original drawing by Beccafumi

IMG theme Artist year description
Pavimento di siena, storie di mosè sul sinai (beccafumi) 01.jpg Story of Moses on Sinai Domenico Beccafumi

(designer) 		1531 The story is told in six parts, integrated into a single large scene. The original drawings have been preserved and are now exhibited in the Pinacoteca Nazionale di Siena after a donation from Spannocchi. For this work Beccafumi received, according to an estimate by Baldassare Peruzzi , on August 30, 1531 120 scudi. Above in the center, on a rock that represents Mount Sinai , Moses kneels down and receives the tablets of the law from a circular opening in the sky. At the lower end of the center, he lifts the tablets above his head to smash them on the floor. The people of Israel have since disobeyed him. Above left, the elders of Israel, Aaron, who points to the top of the mountain, are trying to convince Israel to give Israel a new god. This happens in the lower register, where the Israelites left gold and jewels on the fire to forge the golden calf . On the right you can see how the people revere it and make Moses angry, who is just coming down from the mountain in the middle where he had the divine revelation. At the top the sinners are littered with the plague and die from convulsions ( Exodus , 32, 27-28). Stylistically, the experts appreciated the special breadth of the scene, which manages to create atmospheric effects in the difficult technique of Opus sectile , as in the upper part, where the clouds rotate around the circular opening. The landscape is bare and essential, in harmony with intense lyricism. The figures show a classicist inspiration derived from the example of Raphael , as in the oldest scene of the source by Horeb (see below), but here the dramatic tension appears stronger, as in the body of Moses at the center of the entire scene. His exemplary gesture gains a feeling of tension and blocked energy that is reminiscent of Michelangelo's creations.
Pavimento di siena, mosè fa scatrurire l'acqua dalla rupe di horeb 00.jpg Moses makes water flow from the rock of Horeb. Domenico Beccafumi

(designer) 		1524-1525 It occupies the long narrow band at the bottom of the main frame, above the top of the central hexagon. A crowded scene from a story told in Exodus (17: 1-7) is shown, with the figures representing the various groups of the people of Israel, looping into two ideal semicircular lines that converge in the center where Moses is among the transparent figures hit a rock with a reed and water escapes. The scene, from which Beccafumi's original drawings have been preserved in the Pinacoteca Nazionale di Siena (dating to 1525), is characterized by an extraordinary variation of poses and postures, in contrast to the solemn and monumental figure of Moses in the center.
David the psalmist

First group of the presbytery

In front of the main altar, at the level of the chapels of the Ansanus and the Holy Sacrament, there is a strip that was placed one step higher. There are three main squares that are interrupted by four prophets. These scenes are from the Old Testament, which are difficult to recognize due to the poor state of preservation of the marble, as it is an area that is heavily used during the liturgy.

  • Moses

  • Judas Maccabeus

  • David with slingshot

IMG theme Artist year restoration description
Pavimento di siena, Giosuè che vince gli Amorrei 01.jpg Joshua smites the Amorites Sassetta (design),

Paolo di Martino (execution) 		1426 ? The first field on the left shows Joshua defeating the Amorites between the contemporary figures of Solomon and Joshua . The scene was set up in 1426 when some "real" slabs were delivered to the carpenter Paolo di Martino, presumably those that Sassetta paid for that same year. In the past, the name Domenico di Niccolò was also mentioned, but Sassetta seems the most likely today, as it is comparable to works of those years such as the Pala dell'Arte della Lana in the Church of San Pellegrino alla Sapienza, even if the very worn condition history makes a reliable assignment difficult. Giorgio Vasari named Duccio di Buoninsegna as the artist for this scene , a suggestive hypothesis that is impossible given the documentation. It shows the fight between Jews and Amurites , which is framed by round three-lobed arches. Above the cave on the left where they took refuge are five hanged Amurrian kings.
Pavimento di siena, davide, golia, davide salmista (domenico di niccolò dei cori) .jpg Story of david Domenico di Niccolò (designed, attributed to),

Bastiano di Corso e Agostino di Niccolò (execution) 		1423 1777 In front of the altar staircase there is a large three-part square dedicated to the figure of King David . On the sides there are two frames, in each of which there are depictions of David with the slingshot and of Goliath , who is hit by David's stone and falls backwards. It is strange that Goliath has a hole in his forehead, although the stone has not yet reached it, and that the latter is in the air at the same time in David's sling and in front of Goliath: so it is a contemporary representation of subsequent events, typical of the medieval one Art. These figures are surrounded by a continuous band that forms a complex frame and fits perfectly into the available space. They are reminiscent of a multi-part diamond superimposed on a rectangle and are characterized by a very elegant design, which Roberto Longhi assigned to Jacopo della Quercia without hesitation . It is more likely that they were created by his pupil Domenico di Niccolò, while the mere realization is documented in 1423 by a certain Bastiano di Corso from Florence with the help of the stonemason Agostino di Niccolò.

The same hand is also responsible for the large medallion in the center, with David the psalmist , i.e. H. David as king, who devotes himself to the composition of psalms in an open book over a lectern, accompanied by a vibraphone and four children with four musical instruments: accordion, tambourine, lute and viola. They are arranged symmetrically on steps around the king. Along the frame, decorated with three-lobed arches, runs a long inscription with one hand indicating the starting point. All of these figures were reworked by Matteo Pini based on a design by Carlo Amidei in 1777.

Pavimento di siena, storie di sansone (sassetta) .jpg Story of Samson Sassetta (design, attributed) circa 1426 ? On the right, the story of Samson is flanked by the figures of Moses and Judas Maccabeus . The scene attributed to Sassetta, like the other symmetrical scene near the left transept (similar in technique and style), is dominated by the gigantic figure of Samson who massacres the Philistine warriors with the jawbone of a donkey in his hand. One holds him by the arm, some are already dejected on the ground and others flee in dismay. Here, too, the motif of the round trilobal arches is repeated.

Presbytery and choir

Cardinal virtues
Double frieze
Double frieze
Double frieze, Elijah
IMG theme Artist year restoration description
Siena, pavimento, fortezza 2.JPG bravery Martino di Bartolomeo 1406 1823-1839 Around the altar, in the choir, there is a series of five circles with the cardinal virtues :
bravery, justice, mercy, prudence and moderation .
Each one is placed in a circle of three-lobed arches and stands out against the black marble background.
Around them there are geometric patterns with a visual impact. Marchese Adam of Como and his assistants were paid
for their bravery on March 13, 1406. It is shown with the typical attributes of the shield, the sword on the right, a column on the left.
The justice has the globe and the drawn sword.
The mercy that is on the axis of the ship is smaller, simpler and very difficult to see.
The prudence has three faces, watching everything, and a snake in his hand.
The moderation holds two amphorae.
Carli suggested that all of these figures were drawn by the Sienese painter Martino di Bartolomeo, who was associated with Jacopo della Quercia . The restoration of the "Virtues" took place in the years 1823–1839.
Siena, pavimento, giustizia 2.JPG justice Martino di Bartolomeo 1406 1823-1839
Siena, pavimento, prudenza 2.JPG Prudence Martino di Bartolomeo 1406 1823-1839
Siena, pavimento, Temperanza 3.jpg moderation Martino di Bartolomeo 1406 1823-1839
First altar frieze
The right, left and aisle side of the altar is decorated with a double band of marble inlays, which also contains the great scene of the Sacrifice of Isaac on the front, all works designed by Beccafumi and for which he was paid on May 2, 1544. The double frieze consists of a band that is decorated inside with biblical scenes, which are often reduced to individual representations of figures. These are telling figures, but often difficult to interpret as there are hardly any iconographic references. Imagine looking at each other's scenes, going top to bottom and left to right in a clockwise direction:
  1. Old Tobit with his son Tobias and the Archangel Raphael next to the inevitable little dog
  2. A woman who represents Charitas or a Sibyl
  3. Adam kneeling in a large picture
  4. A prophet who carefully looks at the sky from behind
  5. Another woman holding a book, maybe a sibyl
  6. Sacrifice of Abel : This scene is mentioned in the 1544 Payments
  7. Another woman sitting with a child
  8. Melchizedek's sacrifice is related to that of Abel
  9. A woman sitting with a child, perhaps a lying sibyl
  10. Kneeling Eve, along with Adam, who the critics consider the best of the frieze. Some even believe it is Sodom, a hypothesis that is difficult to confirm
  11. A prophet with an open book in front of him
  12. Elisha brings the son of the Sunamite to life
Beccafumi, Ofer des Isaacs (1547) and central part of the march of the Jewish people into the Promised Land (1544)
March of the Jewish people to the promised land

Around the square frieze there is another one with continuous figures divided into three sections (one on each side) that shows a procession of men and women of all ages with bright contrasts of light, who are likely the children of Israel in search of the represent the promised land. They converge to a sacrificial altar in the lower center and mark the ideal conclusion to the stories of Moses.

Sacrifice of Isaac
The ideal end to the soil cycle was the sacrifice of Isaac , for which Beccafumi was paid on February 25, 1547. God wants to put Abraham to the test, and to do this he orders him to take his only son Isaac and go to Mount Moriah to sacrifice him. When everything is ready, the angel of the Lord intervenes to stop Abraham, who sees a ram caught in a nearby bush. The animal is sacrificed instead of the child. The episode ends with the renewal of the promise to Abraham to multiply his descendants like the stars of the sky and the sand on the beach of the sea. The scene was designed without the dominance of the human element, rather the environment plays an important role, such as the visionary landscape images of twisted, almost jagged trees or depictions of lively realism such as the donkey with the saddle on the right. The scene has a spiral pattern, with the angel's announcement to Abraham in the upper left, the place of sacrifice on the left and the sacrifice in the middle.
Francesco di Giorgio, Story of Judith (1473), detail

literature

Web links

Commons : Siena Cathedral - Floors  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Duomo di Siena ( it )
  2. ↑ a b c d e Santi, cit., Pp. 5-7.
  3. ↑ a b c d e Santi, cit., Pp. 7-8.
  4. ↑ Touring, cit., P. 516.
  5. ↑ a b c Santi, cit., Pp. 9-12.
  6. ↑ a b c d Santi, cit., Pp. 13-15.
  7. ↑ a b c Matilde Battistini: Astrologia, magia, alchimia (=  Dizionari dell'arte ). Electa, 2004, ISBN 978-88-370-2492-5 , pp. 354 (Italian).
  8. ↑ a b c d Santi, cit., Pp. 33-35.
  9. ↑ Santi, cit., Pp. 38-40.
  10. ↑ 1. Book of Kings . bibleserver.com.
  11. ↑ a b c d Santi, cit., Pp. 58-60.
  12. ↑ a b c d e f g Santi, cit., Pp. 61-63.
  13. ↑ a b Santi, cit., Pp. 36-37.

Coordinates: 43 ° 19 ′ 3.3 ″  N , 11 ° 19 ′ 43.3 ″  E