her, two more make melody behind her throne. The faces of the three women--particularly the golden-haired maidens, Catherine and Barbara--are full of pensive sweetness; they have dreamed among the lilies all day and all night of love, such passionless love as that of which the _Vita Nuova_ tells, while the faction fights have splashed Siena's streets with blood, and in her palace chambers the things have been done of which her novelists speak. And, surely, when the Angels sing to their lutes or viols, it will be no hymn, but some such amorous canzone as that with which Casella refreshed Dante's soul on the shores of Purgatory. The lunette above represents the Adoration of the Magi, and was especially stipulated for by the worthy bakers who gave Matteo the commission. The bright picture opposite shows a trace of the influence of Benozzo Gozzoli; it represents the Madonna and Child with Saints and Angels, with the Pietà and four Angels in the lunette, and was painted by Benvenuto di Giovanni in 1483. In the chapel beyond there is another Matteo di Giovanni: the Madonna and Child with Angels, St Jerome and the Baptist, in three divisions, with a rocky landscape background, damaged and neglected. In the chapel on the right of the choir, the Madonna of the Rosary--or rather the Deity with Saints, surrounding an old votive picture of the Madonna--is by Bazzi, the predella of the fifteen mysteries being by one of his pupils. The second chapel on the right belonged to the "German Nation" of the University of Siena, and is full of tombstones of noble young German students, who came to the famous Studio to acquire wisdom, and found a grave. One epitaph begins, _Svevia me genuit, Senae rapuere sed ossa_. The chapel has the pathos that inevitably clings to the thought of hopes cut short, of untimely death in a foreign land.