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Geminiano, the patron of Modena, shows the picture to have been painted for that city, which had been desolated by pestilence in 1512. The date of the picture is 1515.
One evening, near the close of the last Carnival, I saw her enter with her friends the place of St Mark, near the new church of San Geminiano. She wore only a half-mask, and her graceful mien and fine person could not be disguised. My mask and domino were similar to those of her youngest brother, who resembled me also somewhat in person.
In lapse of time the citizens, desiring to enlarge their Piazza, removed the church of San Geminiano back as far as the present Fabbrica Nuova, which Napoleon built on the site of the demolished temple, between the western ends of the New and Old Procuratie.
To give an idea of the tenor of these documents, I will, however, quote a few lines from the earliest one that has come under my notice in Carlovingian times, namely a diploma of the year 782, issued to Geminiano II., bishop of Modena, and preserved in the archives of that city.
The introduction of St. Geminiano tells us that the picture was painted for the city of Modena; the presence of St. John the Baptist and St. Peter Martyr show that it was dedicated by the Dominicans, in their church of St. John. Not less interesting are those votive Madonnas dedicated by the piety of families and individuals.
Accordingly, when he had beaten the Ostrogoths, he caused two votive churches to be built, one to St. Theodore, on the site of the present St. Mark's Church, and another to San Geminiano, on the opposite bank of the canal which then flowed there.
With this design they removed their camp from Santo Casciano to Santo Geminiano, about five miles from Colle, and with light cavalry and other suitable forces were able every day to annoy the duke's camp.
It was here, as elsewhere, the age of martyrs Pancrazio first, and after him Geminiano, guided hither with his mother by an angel; and then San Nicone, who suffered with his one hundred and ninety-nine brother monks, and Sepero and Corneliano with their sixty; the age of monks Luca, who fled from his bridal to live on Etna, with fasts, visions, and prophecies; and, later, simple-minded Daniele, the follower of St.
The Florentines, being thus relieved from the attack in the direction of Pisa, assembled the whole force between Colle and Santo Geminiano. But the army, on the arrival of Count Carlo, being composed of Sforzeschi and Bracceschi, their hereditary feuds soon broke forth, and it was thought that if they remained long in company, they would turn their arms against each other.
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