In Rome we have several instances of these private artistic contributions in the service of churches. The pavement of S. Maria in Cosmedin is the joint offering of many parishioners; and so were those of S. Lorenzo fuori le Mura and S. Maria Maggiore before their modern restoration. The names of Beno de Rapiza, his wife Maria Macellaria, and his children Clement and Attilia are attached to the frescoes of the lower church of S. Clemente; and that of Beno alone to the paintings of S. Urbano alla Caffarella. In the apse of S. Sebastiano in Pallara, on the Palatine, and in that of S. Saba on the Aventine, we read the names of a Benedictus and of a Saba, at whose expense the apses were decorated. We cannot help following with emotion the development of this artistic feeling even among the lowest classes of mediæval Rome.[23] We read of an Ægidius, son of Hippolytus, a shoemaker of the Via Arenula, leaving his substance to the church of S. Maria de Porticù, with the request that it should be devoted to the building of a chapel, "handsome and handsomely painted, so that everybody should take delight in looking at it." Such feelings, exceptional in many Italian provinces, were common throughout Tuscany. When the triptych of Duccio Buoninsegna, now in the "Casa dell' opera" at Siena, was carried from his studio to the Duomo, June 9, 1310, the whole population followed in a triumphant procession. Renzo di Maitano, another Sienese artist of fame, had the soul of a poet. He was the first to advocate the erection of a church, "grand, beautiful, magnificent, whose just proportions in height, breadth, and length should so harmonize with the details of the decoration as to make it decorous and solemn, and worthy of the worship of Christ in hymns and canticles, for the protection and glory of the city of Siena." So spoke the artists of that age, and their language was understood and felt by the multitudes. Their lives were made bright and cheerful in spite of the troubles and misfortunes which weighed upon their countries. Think of such sentiments in our age! [Illustration: THE TRANSLATION OF S. CYRIL'S REMAINS (Fresco in S. Clemente, done at the order of Maria Macellaria)]