flowed from an age ignorant of art. It should
be recollected, however, that it is much easier to copy or follow, when
the path has been marked out, than to invent or discover; and hence that
the glorious productions of the "Prince of modern Painters," form no
criterion by which to judge of the merits of those of the "Father of
modern Painters." The former had "the accumulated wisdom of ages" before
him, of which he availed himself freely; the latter had nothing worthy
of note, but his own talents and the wild field of nature, from which he
was the first of the moderns who drew in the spirit of inspiration.
"Giotto," says Vasari, "did obscure the fame of Cimabue, as a great
light diminishes the splendor of a lesser one; so that, although Cimabue
may be considered the cause of the restoration of the art of painting,
yet Giotto, his disciple, impelled by a laudable ambition, and well
aided by heaven and nature, was the man, who, attaining to superior
elevation of thought, threw open the gate of the true way, to those who
afterwards exalted the art to that perfection and greatness which it
displays in our own 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 man, even though it be more divine than
human. Fortunate, indeed, are artists who now labor, however
meritoriously, if they do not incur censure instead of praise; nay, if
they can even escape disgrace." It should be recollected that Vasari
held this language in the days of Michael Angelo.

All the great frescos of Cimabue, and most of his easel pictures, have
perished. Besides the picture of the Virgin before mentioned, there is a
St. Francis in the church of S. Croce, an excellent picture of St.
Cecilia, in that of S. Stefano, and a Madonna in the convent of S.
Paolino at Florence. There are also two paintings by Cimabue in the
Louvre--the Virgin with angels, and the Virgin with the infant Jesus.
Others are attributed to him, but their authenticity is very doubtful.

DEATH OF CIMABUE.

According to Vasari, Cimabue died in 1300, and was entombed in the
church of S. Maria del Fiore at Florence. The following epitaph,
composed by one of the Nini, was inscribed on his monument:

"Credidit ut Cimabos picturae castra tenere
Sic tenuit, vivens, nunc tenet astra poli."

It appears, however, from an