The scene of the last-published domestic novel[16] of the series is laid at Siena; and, although the story is based upon one of those impassioned tragedies of love and jealousy which can only be found in the family chronicles of Italy, the still-life, social phases, and local traits of the romance are delineated with the same quiet simplicity and graphic truth which constitute the authenticity of the author's previous delineations of modern Italian life. The grave, conservative, and old-fashioned Tuscan city reappears, with its mediæval aspect and traditional customs. Convent education, the homes of the patrician and the citizen, the little gig of the _fattore_, with the small, wiry ponies of the region, the local antiquarian and doctor, the letter-carrier, family servant, lady-superior, pharmacist, the noble and plebeian, the costumes, phrases, and natural language characteristic of that non-commercial and isolated Tuscan city before the days of railroads and annexation, are drawn with emphasis and significant detail. Shades and causes of character are finely discriminated; the old mediæval _festa_ peculiar to Siena, with all its original features and social phenomena, is vividly enacted in the elaborate description of the "Palio" on the 15th of August; while the insalubrious and picturesque Maremma is portrayed, from the Etruscan crypts of the ravines to the desolate streets of Savona, by an artistic and philosophic hand. Incidentally the solidarity of families and the antagonism of _contrade_, dating from the Middle Ages, are defined in explanation of modern traits. We pace the bastions of the fortress built by Cosmo de' Medici for "the subjection of his newly conquered subjects"; we haunt the cabinet of a numismatic enthusiast, and the forlorn palace-chamber of a baffled and beautiful scion of the old, fierce Orsini race; we overhear the peasants talk, and watch the exquisite gradations of color at sunset on the adjacent mountains, across the lonely plains, or gaze down upon St. Catherine's house in the dyers' quarter, and muse in deserted church, urban garden, and precipitous street, consciously alive the while to the aspect and atmosphere, not only of the Siena we have visited or imagined, but of mediæval Tuscany, and its language and life of to-day, as they are incidentally reflected in the experience of a few distinctly individualized and harmoniously developed characters,--true to race, period, and locality, and far more complete and authentic, as a record and revelation, than dry annals on the one hand, or superficial travel-sketches on the other.