ical as that just related of Buonamico. Some artists
proceed to paint without having previously designed, or even sketched
out their subject on the canvass. We know an artist, who painted a fancy
portrait of a child, in a landscape, reclining on a bank beside a
stream; but when he had executed the landscape, and the greater part of
the figure, he found he had not room in his canvass to get the feet in;
so he turned the legs up in such a manner, as to give the child the
appearance of being in great danger of sliding into the water. We
greatly offended the painter by advising him to drive a couple of stakes
into the bank to prevent such a catastrophe. Another artist, engaged in
painting a full-length portrait, found, when he had got his picture
nearly finished, that his canvass was at least four inches too short.
"What shall I do," said the painter to a friend, "I have not room for
the feet." "Cover them up with green grass," was the reply. "But my
background represents an interior." "Well, hay will do as well."
"Confound your jokes; a barn is a fine place to be sure for fine
carpets, fine furniture, and a fine gentleman. I'll tell you what I'll
do; I'll place one foot on this stool, and hide the other beneath this
chair." He did so, but the figure looked all body and no legs, and the
sitter refused to take the portrait.

BUFFALMACCO AND THE PEOPLE OF PERUGIA.

The Perugians engaged Buonamico to decorate their market-place with a
picture of the patron saint of the city. Having erected an enclosure of
planks and matting, that he might not be disturbed in his labors, the
painter commenced his operations. Ten days had scarcely elapsed before
every one who passed by enquired with eager curiosity, "when the picture
would be finished?" as though they thought such works could be cast in a
mould. Buffalmacco, wearied and disgusted at their impatient outcries,
resolved on a bit of revenge. Therefore, keeping the work still
enclosed, he admitted the Perugians to examine it, and when they
declared themselves satisfied and delighted with the performance, and
wished to remove the planks and matting, Buonamico requested that they
would permit them to remain two days longer as he wished to retouch
certain parts when the painting was fully dry. This was agreed to; and
Buonamico instantly mounting his scaffold, removed the great gilt diadem
from the head of the saint, and replaced it with a coronet of gudgeons.
This accomplished, he pa