whose name it still bears.  The present church is for the most part a work of the twelfth century, and certainly not the work of Niccolo Pisano.  The facade, like the rest of the church, has suffered an unfortunate restoration.  The marble loggia is a work of the fifteenth century, and the two statues are, one of S. Jacopo, by Scarpellino, the other of S. Zenone, by Andrea Vacca.  The beautiful terra-cotta over the great door of Madonna and Child with Angels, and the roof above, are the work of Andrea della Robbia.  The frescoes of the story of S. Jacopo are fourteenth-century work of Giovanni Balducci the Pisan.

The splendid and fierce Campanile, still called Torre del Potesta, stood till about the year 1200, alone, a stronghold of the city.  Giovanni Pisano converted it to its present form in 1301.

Within, the church has been greatly spoiled.  The monument to Cino da Pistoja, poet and professor, was decreed in 1337 by the Popolo Pistojese, and was moved about the church from one place to another, till in 1839 it was erected in its present position.  There you may see him lecturing to his students, and one of them is a woman; can it be that Selvaggia whom he loved?

    “Ay me, alas! the beautiful bright hair ...”

“Weep, Pistoja,” says Petrarch, in not the least musical of his perfect sonnets, in celebrating the death of his master—­

    “Pianga Pistoia e i cittadin perversi
    Che perdut’ hanno si dolce vicino;
    E rallegres’ il ciel or’ ello e gito.”

Dante, who exchanged sonnets with Cino and rallied him about his inconstancy, calls the Pistojese worthy of the Beast[141] who dwelt among them; Petrarch calls them i cittadin perversi; the truth being that the Neri were in power and had exiled “il nostro amoroso messer Cino.”

Close by, against the west wall, is the great font of Andrea Ferrucci, the disciple of Bernardo Rossellino, with five reliefs of the story of St. John Baptist.  Opposite Cino’s monument is the tomb of Cardinal Fortiguerra.  For long this disappointing monument, so full of gesticulation, passed as the work of Verrocchio; it is to-day attributed rather to Lorenzetto, his disciple.

Passing up the north aisle, we enter at last the Cappella del Sacramento, under whose altar St. Felix, the Pistojese, sleeps, while on the south wall hangs one of the best works of Lorenzo di Credi, Madonna with Jesus in her arms, and St. John Baptist and S. Zenone on either side.  Opposite is the bust of Bishop Donato de’ Medici, by Antonio Rossellino.  The little crypt under the high altar is scarcely worth a visit, but the great treasure of the church, the silver frontal of the high altar, is now to be found in the Cappella della Citta, and over it, in a chest within the reredos, is the body, still uncorrupted, of S. Atto, Bishop of Pistoja, who died in 1155.  The silver frontal, certainly the finest in Italy, with its wings and reredos of silver and enamel, was removed from the