ed in tempera a
colossal "Madonna and Child with Angels," the largest altarpiece
produced up to that date; before its removal from the studio it was
visited with admiration by Charles of Anjou, with a host of eminent men
and gentle ladies, and it was carried to the church in a festive
procession of the people and trumpeters. Cimabue was at this time living
in the Borgo Allegri, then outside the walls of Florence; the legend
that the name Allegri (Joyous) was bestowed on the locality in
consequence of this striking popular display is more attractive than
accurate, for the name existed already. Of this celebrated picture, one
of the great landmarks of modern and sacred art, some details may be
here given, which we condense from the _History of Painting in Italy_ by
Crowe and Cavalcaselle.

"The Virgin in a red tunic and blue mantle, with her feet resting on
an open-worked stool, is sitting on a chair hung with a white drapery
flowered in gold and blue, and carried by six angels kneeling in
threes above each other. A delicately engraved nimbus surrounds her
head, and that of the infant Saviour on her lap, who is dressed in a
white tunic, and purple mantle shot with gold. A dark-coloured frame
surrounds the gabled square of the picture, delicately traced with an
ornament interrupted at intervals by thirty medallions on gold ground,
each of which contains the half-figure of a saint. In the face of the
Madonna is a soft and melancholy expression; in the form of the
infant, a certain freshness, animation and natural proportion; in the
group, affection--but too rare at this period. There is sentiment in
the attitudes of the angels, energetic mien in some prophets,
comparative clearness and soft harmony in the colours. A certain loss
of balance is caused by the overweight of the head in the Virgin as
compared with the slightness of her frame. The features are the old
ones of the 13th century; only softened, as regards the expression of
the eye, by an exaggeration of elliptical form in the iris, and
closeness of the curves of the lids. In the angels the absence of all
true notions of composition may be considered striking; yet their
movements are more natural and pleasing than hitherto. One indeed, to
the spectator's right of the Virgin, combines more tender reverence in
its glance than any that had yet been produced. Cimabue gave to the
flesh-tints a clear and carefully fused colou