The Story of Siena and San GimignanoGardner, Edmund G.
History
The Story of Siena and San Gimignano
Gardner, Edmund G.
Art -- Italy -- Siena; San Gimignano (Italy) -- History; Siena (Italy) -- History
The Porta Camollia bears the famous and characteristic Sienese greeting
to all that enter: _Cor magis tibi Sena pandit_, "Siena opens to thee
her heart more than her gate." When Pius II., on January 31st, 1460,
returned to Siena from the fruitless congress at Mantua, he passed
through this gate and found all the streets as far as the Duomo
gorgeously decorated. Inside the gate there was a structure to look like
a Paradise with a choir of boys dressed as angels; when the Pope drew
near, one of them descended from his place and sung so sweetly,
commending the city to him, that Pius burst into tears. When Charles
VIII. of France entered here in May 1495, accompanied by the Signoria
who had met him at the Antiporto, he had a similar reception, a boy
dressed to represent the Madonna as Queen of the city singing a Latin
welcome to the sound of music. The present gate was built in 1604, in
honour of the Grand Duke Ferdinand I., from the design of Alessandro
Casolani.
Outside the gate is the Piazza d'Armi or Prato di Camollia, where the
Spanish soldiers mustered in 1552 on the surrender of the citadel. Here
is the column that marks the place where Enea Silvio Piccolomini
introduced the Emperor to his bride, Leonora of Portugal. The Antiporto
or Portone was many times destroyed and rebuilt, the present structure
dating from the seventeenth century. A short way further on, on the road
towards Florence, is the _Palatium Turcorum_, the palace of the Turchi
(a family of the Noveschi who were connected with the Piccolomini), a
red brick structure with a fine tower. It has been popularly called,
from the fifteenth century downwards, the Palazzo de' Diavoli. The
chapel is a fine piece of Renaissance architecture by Antonio Federighi,
with a frieze somewhat recalling that of the chapel of the Campo; in the
interior are tasteful terra-cotta mouldings and an Assumption with a
multitude of Angels, St Jerome and St Thomas--like a Sienese picture of
the Quattrocento in terra-cotta--also by Federighi. It was little beyond
this palace that the Sienese pursued the routed Florentines and
_papalini_ in 1526--but they fled for ten miles without stopping.
Public-domain text, read in full here on John Shaqi.
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