t in the art he was so fond of, would stand watching these
masters at their work the day through." Vasari goes on to say, that this
passion at length induced his father, already persuaded that he had the
genius to become a great painter, to place Giovanni under the
instruction of these Greek artists. From this time, he labored
incessantly day and night, and aided by his great natural powers, he
soon surpassed his teachers.

CIMABUE'S FAMOUS PICTURE OF THE VIRGIN.

Cimabue had already distinguished himself by many works, executed in
fresco and distemper for the churches at Florence, Pisa, and Assisi,
when he painted his famous picture of the Holy Virgin for the church of
S. Maria Novella in the former city. This picture was accounted such a
wonderful performance by his fellow citizens, that they carried it from
the house of Cimabue to the church in solemn procession, with sound of
trumpets and every demonstration of joy. "It is further reported," says
Vasari, "that whilst Cimabue was painting this picture in a garden near
the gate of San Pietro, King Charles 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." This picture, representing
the Virgin and Infant Jesus surrounded by angels, larger than life, then
so novel, was regarded as such a wonderful performance, that all the
people of Florence flocked in crowds to admire it, making all possible
demonstrations of delight. It still adorns the chapel of the Rucellai
family in the church of S. Maria Novella for which it was painted. The
heads of the Virgin, of the infant Jesus, and the angels, are all fine,
but the hands are badly drawn; this defect, however, is common with the
Quattrocentisti, or artists of the 14th century. The editors of the
Florentine edition of Vasari, commenced in 1846, by an association of
learned Italians, observe, "This picture, still in fair preservation, is
in the chapel of the Rucellai family; and whoever will examine it
carefully, comparing it, not only with works before the time of Cimabue,
but also with those painted after him, by the Florentine masters,
particularly Giotto, will perceive that the praises of Vasari are
justified in every particular."

THE WORKS OF CIMABUE.

Some writers assert that the works of Cimabue possessed little merit
when compared with those of later times; and that the extraordinary
applause which he received