The Pinacoteca, on the third floor of the Palace, contains some excellent works. The more important are the following:--A triptych by Taddeo di Bartolo, the Madonna and Child with Saints, the Annunciation, Christ blessing with St Peter and St Paul above; the Madonna and Child, with the Baptist and St Francis, St Gregory and Santa Fina (the latter very sweet and golden-haired, with her flowers), a good Florentine work of the school of Benozzo Gozzoli; St Bartholomew with scenes from his martyrdom, by Lorenzo di Niccolò of Florence, dated 1401; two little panels with four miracles of Santa Fina, probably by the last-named painter; St Geminianus enthroned with a model of the town, with eight scenes of his miracles, including his appearance on the walls of San Gimignano to drive back Attila, by Taddeo di Bartolo; a triptych, by an unknown painter of the Quattrocento, representing St Julian with St Antony and St Martin, on either side of which are little pictures of Santa Fina and St Gregory, perhaps by Lorenzo di Niccolò; a Madonna and Child with two Saints (restored), by Pier Francesco Fiorentino; two excellent _tondi_ by Sebastiano Mainardi. At the end of the room are the two chief treasures of the collection. The Madonna alone in a glory of Cherubs, with a pope and an abbot kneeling in adoration in a beautiful landscape, is one of the finest of Pinturicchio's works, in colour and in expression; it was painted for the convent of the Olivetani outside the Porta San Giovanni. On either side of it are two _tondi_ representing the Annunciation, in beautiful old frames; these were commissioned by the Commune in 1482, and, though in colour and form they curiously approach Botticelli, appear to be early works of Filippino Lippi. M. Paul Bourget especially admires the Gabriel, "un Ange annonciateur au profil douloureusement extatique, aux mains blanches et fines dans leur longueur." There is also an altar-piece by Fra Paolino da Pistoia, which may possibly have been painted by him from a design of Fra Bartolommeo's, but is very poor in execution. There are several frescoes ascribed to Pier Francesco Fiorentino in other rooms of the Palace. Opposite the Collegiata is the old Palazzo del Podestà, where that magistrate resided until San Gimignano surrendered to Florence. It was built in the thirteenth and enlarged early in the fourteenth century. There is some antique iron work, including a fine _fanale_, on the façade, and in the Loggia are the remains of a fresco painted by Bazzi in 1513. Its tall tower, only slightly lower than that of the Torre del Comune, originally called the Rognosa and, after 1407, the Torre dell' Orologio, marked the limit to which noble citizens might build their private towers. When at nightfall its bell, those of the Pieve and the more sonorous one of the Commune answer each other, the Sangimignanesi assure me that the sound can be heard in Florence. The tower near it is that of the Savorelli.