the principal door, and around the rose window, he placed the ascension of the Virgin in heaven, together with the descent of the Holy Spirit on the Apostles.* This work, truly great and rich, and most admirably executed, must, in my opinion, have caused the utmost astonishment in the world of that day, more especially as the art of painting had been for so long a time in complete darkness. To myself, who saw it for the second time in the year 1563, it appeared most beautiful, more particularly when I considered that obscurity of art from the shades of which Cimabue had found means to elicit so much light. But of all these paintings (a thing which merits consideration), those of the vaults being less exposed to dust and other accidents, are in much better preservation than any of the others.† Having completed these works, Cimabue began to paint the lower part of the walls, namely from the windows downwards, and mad‹ some progress therein, but being recalled to Florence by hs private affairs, he did not continue this work, and it wis finished, as will be seen in its due place, by Giotto, may years after.

Having thus returned to Florence, Cimabue next worked in the cloister of Santo Spirito. The entire side next the church is painted by other masters, in the Greek manier but three arches, containing events from the life of Christ are by his own hand, and certainly display much power of design. About the same time, he sent some of his works, executed in Florence, to Empoli, where they are still preserved with great veneration in the parochial church of

* Della Valle_attributes only a part of these paintings to Cimabue They are now all greatly injured, and become almost indistinguishable The Reconciliation of Joseph with his Brethren, near the door on th north side, is the only one still remaining in tolerably good preservation -Schorn.

Writers are far from agreeing as regards the paintings of th church, and their authors. Thus Father Angeli, Storia della Basilic D'Assisi, attributes the Assumption of the Virgin with Saints beneat to Giunta Pisano, although Vasari praises it as the work of Cimabu D'Agincourt also enumerates it among his plates (No. 102) with tho assigned to Giunta. See also Rosini, Storia della Pittura Italiana, vol. p. 110. Rumohr asserts that Vasari had no authority whatever f stating that Cimabue painted in the upper church of San Frances D'Assisi. See Ital. Forsch., vol. ii, sec. 8.

These paintings of Cimabue, as well as those of the other maste are entirely destroyed.

that place.* He afterwards painted the picture of the Virgin, for the church of Santa Maria Novella, where it is suspended on high, between the chapel of the Rucellai family and that of the Bardi, of Vernio. This picture is of larger size than any figure that had been painted down to those times; and the angels surrounding it, make it evident that, although Cimabue still retained the Greek manner, he was nevertheless gradually approaching the mode of outline and general method of modern times. Thus it happened that this work was an object of so much admiration to the people of that day-they having then never seen anything better that it was carried in solemn procession, with the sound of trumpets and other festal demonstrations, from the house of Cimabue to the church, he himself being highly rewarded and honoured for it. It is further reported, and may be read in certain records of old painters, that, whilst Cimabue was painting this picture, in a garden near the gate of San Pietro, King Charlest the Elder, of Anjou, passed through Florence, and the authorities of the city, among other marks of respect, conducted him to see the picture of Cimabue. When this work was thus shewn to the king, it had not before been seen by any one; wherefore all the men and women of Florence hastened in great crowds to admire it, making all possible demonstrations of delight. The inhabitants of the neighbourhood, rejoicing in this occurrence, ever afterwards called that place Borgo Allegri; and this name it has ever

* Some remains of ancient paintings are still to be seen in this Chapter-House, but none of them appear to be of the time or manner of Cimabue.-Florentine edition of 1846.

†This picture, still in very fair preservation, is in the chapel of the Rucellai family; and whoever will examine it carefully, comparing it, not only with works produced before the time of Cimabue, but also with those painted after him by the Florentine masters, preceding Giotto, will perceive that the praises of Vasari are justified in every particular.-Ed. Flor. 1846.

Brother of St. Louis, and crowned King of Sicily by Clement IV, in the year 1266. According to Vasari, who gives 1240 as the year of Cimabue's birth, the latter must then have been but twenty-six years old, although he had already completed so many great works. The doubtful character of this anecdote is manifest; but the painting is still in the church of Santa Maria Novella. The heads of the Virgin, of the Child, and of the Angels, are all fine, but the hands are badly drawn. The throne and ground are covered with gold.-Schorn. See also Rumohr, vol. ii, p. 31.

since retained, although in process of time it became enclosed within the walls of the city.*

In San Francesco of Pisa-where Cimabue painted some other pictures, as has been already remarked-may be seen a painting in distemper, by his hand; it is in the cloister, near the door which leads into the church, and is a small picture representing Christ on the Cross, with numerous angels around him; they are weeping, and supporting with their hands certain words, which are written round the head of Christ, and which they direct towards the ear of the Virgin, who stands, also weeping, on the right hand; while on the left is John the Evangelist, towards whom they likewise direct a portion of the scroll, and whose expression is one of deep grief. The words addressed to the Virgin are, "Mulier ecce filius tuus", and those to St. John, "Ecce mater tua”. A third sentence, supported by another angel, placed somewhat apart, is as follows: "Ex illâ horâ accepit eam discipulus in suam”. Hence we perceive that Cimabue originated the invention of lending the aid of words to art, for the better expression of the meaning,-certainly a new and peculiar expedient.

By these and other works,† Cimabue had now acquired a great name, as well as large profits, and was appointedtogether with Arnolfo Lapi, an artist then highly renowned in architecture—to superintend the building of Santa Maria del Fiore, in Florence. But at length, and when he had lived sixty years, he departed to another life, in the year 1300, having achieved little less than the resurrection of painting from the dead. He left many disciples, and, among others, Giotto, who afterwards became a most eminent

* This name of Borgo Allegri is derived, according to Cinelli, from the family of Allegri.-Ed. Flor.

† Bottari tells us that in addition to these works, and others previously mentioned by Vasari, there still remain a Madonna (restored) in the convent of San Paolino, in Florence; a second in that of Ognissanti; a Crucifix, in the monastery of San Jacopo di Ripoli, etc. etc. This Crucifix, if, indeed, it be by Cimabue, may still be seen in the monastery. Morelli affirms that he also painted in the church of the Carmine, in Padua; and that, when this church was burnt, a Head of St. John, by his hand, was rescued, and preserved, as a precious relic, in the house of Alessandro Cappella.-Maselli. Schorn.

From a document cited by Ciampi, it appears that Cimabue was exccuting a St. John, in mosaic, for the Duomo of Pisa, in 1302; and, as he left this figure unfinished, it may be inferred that he did not long sur

painter, and long dwelt in the house inhabited by his master, in the Via del Cocomero. Cimabue was entombed in Santa Maria del Fiore, the following epitaph being composed on him by one of the Nini:

"Credidit ut Cimabos picturæ castra tenere

Sic tenuit, vivens, nunc tenet astra poli."

I will not omit to observe, that if the greatness of Giotto, his disciple, had not diminished the glory of Cimabue, his fame would have risen still higher, as Dante remarks in his Commedia, where, alluding, in the eleventh canto of the Purgatorio, to this inscription on the tomb,* he says:

Alluding to these verses, a commentator of Dante, who wrote while Giotto was still living-ten or twelve years after the death of Dante himself; that is, about the year 1334-has the following remarks. He is speaking of Cimabue, and these are his precise words: "Cimabue, of Florence, a painter of the time of our author, knew more of the noble art than any other man; but he was so arrogant and proud withal, that if any one discovered a fault in his work, or if he perceived one himself (as will often happen to the artist, who fails from the defects in the material that he uses. or from insufficiency of the instrument with which he works), he would instantly destroy that work, however costly it might be. Giotto, of that same city of Florence, was, and is, the most eminent of painters; and his works bear testimony for him in Rome, in Naples, at Avignon, Florence, Padua, and many other parts of the world." This commentary is now in the hands of the Rev. Don Vincenzio Borghini, prior of the Innocents, a man not only illustrious for elevation of mind, for goodness, and for learning, but also a lover of, and so well

vive that year. He died at Florence, and was buried in the church of Santa Maria del Fiore.

*The contrary is the fact, since the epitaph must have been written subsequently to those lines of Dante.

†This Commentary is that known to the learned under the title of the "Anonimo". It was first published in Pisa by Alessandro Torri, 1827-30.-Ed. Flor

versed in. all the nobler arts, that he has merited to be elected, as by our lord the Duke Cosmo he judiciously has been, to the office of ducal representative (vice-president) in our Academy of Design. But to return to Cimabue: Giotto certainly did obscure his fame, as a great light diminishes the splendour of a lesser one; so that, although Cimabue may be considered, perhaps, the first cause of the restoration of the art of painting, yet Giotto, his disciple, impelled by laudable ambition, and well aided by heaven and nature, was the man who, attaining to superior elevation of thought, threw open the gates of the true way to those who afterwards exalted the art to that perfection and greatness which it displays in our age; when, accustomed as men are, daily, to see the prodigies and miracles, nay, the impossibilities, now performed by artists, they have arrived at such a point that they no longer marvel at anything accomplished by men, even though it be more divine than human. Fortunate, indeed, are they who now labour, however meritoriously, if they do not incur blame instead of praise; nay, if they can even escape disgrace.

The portrait of Cimabue may be seen in the chapter of Santa Maria Novella.* It is by Simon of Siena, and is in his picture of the Church Militant and Triumphant. This por

trait is in profile, the face meagre, the beard short, reddish, and pointed; the head enveloped in a hood, after the manner of that day, which is folded gracefully beneath the chin, and closely wraps the throat. The figure beside Cimabue is Simon of Siena, author of the work, who has painted himself by means of two mirrors, placed opposite each other, and which have enabled him to give his head in profile. The soldier in armour, standing between them, is supposed to be Count Guido Novelli, then Signore of Poppi. Of Cimabue there remains still to say, that, in the commencement of a book wherein I have collected drawings by the hand of every artist who has followed him to these days,† there are some *From this portrait Vasari took the head of Cimabue, which he placed before the life of that artist in his second edition.

† Baldinucci relates, in the life of Passignano, that five volumes of drawings were sold for several thousand crowns to certain merchants, by the Cav. Gaddi, these volumes being the celebrated book so frequently mentioned by Vasari in these "Lives." Some thousands of drawings by the most eminent masters were afterwards collected by Cardinal Leopoldo de' Medici, and among these were many which had