Annunciation, of the school of the Della Robbia; and a contemporary portrait of San Bernardino, said to have been painted in 1439 by Pietro di Giovanni Pucci. Certain of his relics are preserved beneath the high altar in a silver reliquary of 1472, the work of Francesco di Antonio. Pandolfo Petrucci is buried in the sacristy, which contains a Pietà questionably ascribed to Giacomo Cozzarelli. Among the numerous sepulchres in the crypt is that of Celia Petrucci, a fashionable beauty of the sixteenth century. Under the church is a little chapel formed of the original cell of San Bernardino--transported bodily from the older convent--with the same wooden door wherewith he shut himself out, for brief intervals, from the turbulent world for which he laboured. Thus are the memories and relics of Siena's great apostle of peace curiously linked with those of her first tyrant. Somewhat more than a mile beyond the Porta San Marco is the Abbey of Sant' Eugenio, usually known simply as _Il Monastero_. This is the castle-like building that is so conspicuous in the foreground to the south, in the view from the ramparts of Santa Barbara. It is reached from the gate through pleasant lanes, lined with vineyards and olive plantations, that in spring and summer swarm with that noblest of European butterflies, the tiger-striped _Papilio Podalirius_. It was originally a monastery of the Benedictines of Monte Cassino and was founded in the eighth century; Piero Strozzi fortified it in 1554, but it was soon occupied by the imperial forces. At present it is the property of a Sienese family, the Griccioli, and has been completely modernised. From one of the former cloisters there is a fine view of the mountains to the south. The best of the pictures have gone from the church, and those that remain have been repainted. There is a much damaged Bearing of the Cross, belonging to the series of frescoes that Bazzi painted for the Compagnia di Santa Croce. Two frescoes by Benvenuto di Giovanni--the Resurrection and the Crucifixion--are among that painter's better works. In the chapel to the right of the choir is a Madonna and Child with two Angels by Francesco di Giorgio, and, in the chapel to the left, a Madonna and Child, an authentic work by Ambrogio Lorenzetti. The famous Assumption of the Madonna--somewhat too enthusiastically praised in England--by Matteo di Giovanni, which once adorned the high altar, is now in the National Gallery of London, and a Madonna by Duccio, which was formerly in the sacristy, appears recently to have followed it beyond the Alps--unless it has made a longer voyage and, like other Italian pictures, crossed the Atlantic.