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Maria degli Angeli include a reference to a violone repaired in 1651, and books of licenze from S. 23 The total number of instrumentalists at these houses is, once again, difficult to determine. A 1631 inventory from S. Marta, for example, includes an entry for “nine instruments of various sorts,” most likely including a lute, but we cannot assume that all nine were used on a regular basis. The instrumental ensemble at S. Petronilla can be partially 34 Holy Concord within Sacred Walls reconstructed only for the mid-1670s.

54 Tarugi’s other victory, if it can be called that, was with the Mantellate of S. Francesco. By 1604, the convent held only five aged tertiaries. Whether they were forced to join with the nuns at S. 55 Tarugi’s successors eventually managed to negotiate the same kinds of arrangements with the remaining holdouts. Metello Bichi saw the enclosure of the Franciscan women of S. Girolamo in Campansi in 1612. It was, in fact, partly through generous donations from the Bichi family that the convent was able to do so.

The supplications came both from nuns forced to move during the troubled century (S. Chiara, Le Trafisse, Ognissanti) and from those whose convents survived (Santuccio). It is difficult to know how normal these requests were in the ordinary course of events and whether nuns in other cities entreated similar exemptions at the same rate as Sienese holy women. In any case, the petitions speak to the havoc that both war and neglect wreaked on the convents of Siena and to the determination with which the nuns addressed the problems.

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An analytical exercise by Euler L.

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