Peleo Bacci’s ascription of the recently discovered Passion frescoes in the Badia to Buffalmacco seems reasonable, _Bollettino d’ Arte_, V (1911) pp. 1–27. Dr. Sirén ascribes these frescoes to Nardo di Cione and follows Venturi in identifying Buffalmacco with the “Cecelia Master.” _Burlington Magazine_, Vol. XXXVI, p. 10. The hypothesis still lacks solid foundation. Footnote 14: By Vasari the Spanish Chapel was divided between Taddeo Gaddi and Simone Martini. _C. &. C._ discovered that the work was by an Andrea da Firenze who as a document attests painted stories of S. Ranieri at Pisa, in 1377. The contract which proves this Andrea to have been Andrea Bonaiuti, active 1343–77, was published in _Arte e Storia_, Florence, Feb., 1917, p. 33. It gives the date of the contract for the Spanish Chapel, 1365. The very elaborate decoration of the Spanish Chapel is fully described in _C. &. C._ (Hutton) Vol. I., pp. 309–312. There are useful literary illustrations in Venturi, _Storia dell’ arte italiana_, Vol. V., pp. 792–809. Ruskin in _Mornings in Florence_ gives a partial analysis which is fascinating from a literary point of view, but badly overestimates the merit of the work. CHAPTER II.—SIENA GENERAL WORKS: Langton Douglas. _A History of Siena._ New York, 1902. Ferdinand Schevill. _Siena, the Story of a Mediæval Commune_, New York, 1909. Edmund G. Gardiner. _The Story of Siena and San Gemignano_, London, 1902. William Heywood and Lucy Olcott. _Guide to Siena, History and Art_, London, 1903. PAINTING, THE SCHOOL. Emil Jacobsen. _Sienesische Meister des Trecento in der Gemälde Galerie zu Siena_, Strassburg, 1907; _Das Quattrocento in Siena_, Strassburg, 1908; _Sodoma und das Cinquecento in Siena_, Strassburg, 1910; all very valuable for illustrations. Venturi, _Storia dell’ Arte Italiana_, Vols. V and VII. Bernard Berenson, _Central Italian Painters of the Renaissance_, New York and London, 1909. C. Ricci, _Il Palazzo Pubblico di Siena e la Mostra d’Antica Arte Senese_, Bergamo, 1904, offers a good and inexpensive survey of Sienese handicraft in general. SIENESE PICTURES IN THE UNITED STATES. Consult the illustrated catalogues of the Fogg Museum, Harvard; and of the Jarves Collection, Yale. Also many special articles in _Art in America_, especially the series in Vol. VIII-IX, by F. Mason Perkins, _Some Sienese Paintings in American Collections_. Footnote 15: The fact that the Madonna of the Palazzo Pubblico had been much repainted in Duccio’s time not unnaturally threw Milanesi and other critics off the track. But the date is entirely genuine (see _C. & C._ [Douglas] Vol. I, p. 162, note 1*; and E. Jacobsen, _Das Trecento_, p. 18). The latter writes, “The signature and date are genuine. There is no tenable ground for doubting them.”