The olive naturally appears as an attribute in allegorical figures of Peace. One of the earliest and most famous of these figures is in Ambrogio Lorenzetti’s great fresco entitled ‘Good Government.’[117] The golden-haired Peace, who wears a white robe, is crowned with olive, and carries an olive branch in her hand. She has a beauty of her own, but compared with the more virile figures in the composition, Fortitude, Prudence, Temperance and Justice, she is a little heavy and inert, a little wanting in interest, as the citizens perhaps would have found their daily life were they condemned to days of peace. In small, fierce Siena the olive was a very favourite symbol and found more frequently than any other. One of the most curious characteristics of religious art is the inexactitude with which it reflects a people’s mood, for the ideal upon the wall above the altar is often just precisely that to which they do not strive. When the Medici were in power and Florentine social life was at its worldliest, simplicity and purity, almost austerity, were demanded of the artist, and the lily was the favourite symbol. Murillo painted Madonnas to the Church’s order, sweet and forgiving, kind to indulgence, almost voluptuous, at a moment when not only the devotions of Jews and heretics but the private life of every citizen of Seville was under stern control. And in Seville, with inquisitorial fires blazing, the Virgin had as attribute the rose of love and charity. So the turbulent Sienese, who, when no enemy knocked at the gates, fought with one another, loved a still and peaceful art. It was conservative, for they cared for no novelty, no variety of subject, pose or action. And their favourite symbol was the olive branch of peace. The angel Gabriel almost invariably carries olive,[118] Saint John the Evangelist[119] and Saint Ansano,[120] their own saint, both hold branches of it, and it crowns the blonde curls of many a little angel. In representations of the first and third persons of the Holy Trinity the olive branch is very rare. Upon some ancient crucifixes, however, where a hand holding a wreath represents the Eternal Father, the wreath, though usually of laurel, in some instances is formed of olive. In the Crucifix of the tenth century, known as the Crucifix of Lothair,[121] the wreath is distinctly of olive, but since it encircles the Holy Dove the olive is perhaps equally the attribute of the Holy Ghost. In the Crucifix upon the Manual of Prayer of Charles the Bald,[122] the wreath is of laurel and there is no dove.