nd possessed numerous great buildings, of which the temple of
Mars was famous throughout the whole empire. It was incorporated with
Aquileia, under Constantine; and towards the end of the 6th century was
destroyed by the invading Slavs. It had a period of exceptional
prosperity from the middle of the 14th to the latter half of the 15th
century, under the counts of Cilli, on the extinction of which family it
fell to Austria. In the 16th century it suffered greatly both from
revolts of the peasantry and from the Counter-Reformation, Protestantism
having made many converts in the district, particularly among the
nobles.

See Glantschnigg, _Celeja_ (Cilli, 1892).

CIMABUE, GIOVANNI (1240 to about 1302), Italian painter, was born in
Florence of a respectable family, which seems to have borne the name of
Gualtieri, as well as that of Cimabue (Bullhead). He took to the arts of
design by natural inclination, and sought the society of men of learning
and accomplishment. Vasari, the historian of Italian painting, zealous
for his own native state of Florence, has left us the generally current
account of Cimabue, which later researches have to a great extent
invalidated. We cannot now accept his assertion that art, extinct in
Italy, was revived solely by Cimabue, after he had received some
training from Greek artists invited by the Florentine government to
paint the chapel of the Gondi in the church of S. Maria Novella; for
native Italian art was not then a nullity, and this church was only
begun when Cimabue was already forty years old; Even Lanzi's qualifying
statement that Greek artists, although they did not paint the chapel of
the Gondi, did execute rude decorations in a chapel below the existing
church, and may thus have inspired Cimabue, makes little difference in
the main facts. What we find as the general upshot is that some Italian
painters preceded Cimabue--particularly Guido of Siena and Giunta of
Pisa; that he worked on much the same principle as they, and to a like
result; but that he was nevertheless the most advanced master of his
time, and, by his own works, and the training which he imparted to his
mighty pupil Giotto, he left the art far more formed and more capable of
growth than he found it (see PAINTING).

The undoubted admiration of his contemporaries would alone demonstrate
the conspicuous position which Cimabue held, and deserved to hold. For
the chapel of the Rucellai in S. Maria Novella he paint