conception and style of execution are adhered to, yet with a softened
sentiment, a touch of more natural, life-like feeling, particularly
in the head of the Child. The expression in the face of the Virgin
struck me as very gentle and attractive; but it has been, I am afraid,
retouched, so that we cannot be quite sure that we have the original
features. Fortunately Guido has placed a date on his work, MCCXXI.,
and also inscribed on it a distich, which shows that he felt, with
some consciousness and self-complacency, his superiority to his
Byzantine models;--

"Me Guido de Senis diebus depinxit amoenis
Quem Christus lenis nullis velit angere poenis."[1]

Next we may refer to the two colossal Madonnas by Cimabue, preserved
at Florence. The first, which was painted for the Vallombrosian monks
of the S. Trinita, is now in the gallery of the academy. It has all
the stiffness and coldness of the Byzantine manner. There are three
adoring angels on each side, disposed one above another, and four
prophets are placed below in separate niches, half figures, holding
in their hands their prophetic scrolls, as in the old mosaic at Capua,
already described. The second is preserved in the Ruccellai chapel, in
the S. Maria Novella, in its original place. In spite of its colossal
size, and formal attitude, and severe style, the face of this Madonna
is very striking, and has been well described as "sweet and unearthly,
reminding you of a sibyl." The infant Christ is also very fine. There
are three angels on each side, who seem to sustain the carved chair or
throne on which the Madonna is seated; and the prophets, instead, of
being below, are painted in small circular medallions down each side
of the frame. The throne and the background are covered with gold.
Vasari gives a very graphic and animated account of the estimation
in which this picture was held when first executed. Its colossal
dimensions, though familiar in the great mosaics, were hitherto
unknown in painting; and not less astonishing appeared the deviation,
though slight, from ugliness and lifelessness into grace and nature.
"And thus," he says, "it happened that this work was an object of
so much admiration to the people of that day, they having 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 i