The next two rooms, Stanza IV. and Stanza V., are entirely devoted to Sano di Pietro. Sano, or Ansano, is the most mystical, the most genuinely inspired by religious devotion, of all the painters of Siena; like Fra Angelico, his life was in perfect harmony with his art, _pictor famosus et homo totus deditus Deo_--so is he described in the document that registers his death--"a famous painter and a man utterly dedicated to God"; but, unlike Angelico, he was a married man and a father of children. In these two rooms he can be thoroughly studied in all his phases. His brush moves in a somewhat restricted field. It is always the Madonna with her Divine Child, surrounded by saints and adored by Seraphim, now listening to the music of attendant Angels, now crowned by her Son with the diadem of Paradise. Or we have saints, men and women, rapt in ecstasy and already of another world. Sometimes monks or nuns are introduced, kneeling at Our Lady's feet or worshipping her Child, or the portrait of the donor--frequently (as in number 9 of Stanza IV.) some devout nun who had it painted "for the soul of her father and of her mother"; but such figures are always very small indeed, as though to reduce the human element to a minimum. The faces are always very sweet--the Angels, with the flame of the Holy Spirit resting upon their foreheads, perhaps especially so--the colours are of that almost shadowless brightness that the Sienese loved. Among the Sienese saints introduced we may notice (Stanza IV., 25) the founder of the Gesuati, the Beato Giovanni Colombini, kneeling at the Madonna's feet; he was a leader in the religious life of Tuscany when St Catherine was a child, and the Colombini were connected by marriage with the Benincasa.