The street referred to in the above document now includes the first sections of the Via Cavour and Via di Città, and is the most animated part of Siena. Turning up the Via di Città, we have on our left the Loggia di Mercanzia, the meeting-place of the merchants of the Republic, the centre of the commercial life of the city in the fifteenth century, which afterwards became the Casino de' Nobili. It was designed by Sano di Matteo in 1416, and mainly executed about 1438 by Pietro del Minella, in a style (like that of the Loggia dei Lanzi at Florence) intermediate between Gothic and Renaissance. Of the saints on the façade, St Peter and St Paul are by Vecchietta, Victor, Ansanus and Savinus by Antonio Federighi; the two marble seats, to right and left, are by Federighi and Il Marrina respectively. On the right, past the meeting-place of the Accademia de' Rozzi (an institution dating from the early part of the Cinquecento), under a kind of colonnade begin the curious Via dei Beccari, the street of the butchers, with the oxhead of their guild prominently displayed (becoming presently the most picturesque of Siena's old streets, the Via della Galluzza), and the long Via Fontebranda. Then, on the left, the Costa dei Barbieri leads down into the Campo; here in old times was the Porta Salaia, the name of which is still preserved in the Vicolo di Macta Salaia, a little further on. Guarding the Costa is a fine old tower, called of the "Sette Seghinelle," with various armorial bearings; opposite it, on the right side of the Via di Città, the Podestà lived, before the building of the present Palazzo Comunale. Opposite the Costa, the Via dei Pellegrini leads off to the Baptistery. On the right is the Palazzo Bindi Sergardi, with ceiling frescoes by Beccafumi, which were greatly admired in their day, and gained for him the commission to decorate similarly the Sala di Concistoro. On the left, at the foot of the Baptistery, is the famous Palace of the Magnifico, built for Pandolfo Petrucci in the early years of the Cinquecento from the design of Giacomo Cozzarelli, who also cast the splendid metal work on the exterior. The arms of the Petrucci are still to be seen under what was the chief entrance, but the lower part of the palace is very squalid now. Of the frescoes that Luca Signorelli, Girolamo Genga and Bernardino Pinturicchio painted for the Magnifico, there now remains nothing but a few fragments in one room, doubtfully ascribed to the last-named master. Hardly can we now conjure up in imagination the days when Machiavelli, coming here as ambassador of the Signoria of Florence, found Pandolfo after dinner surrounded by the chief men of his faction, whom he had invited to talk over the matter, or when Borghese gathered together all the loveliest women of Siena at a banquet to do honour to the younger Lorenzo de' Medici.