id his host, and set off to Florence.

Two days having past, and the Perugians not seeing the painter going
about as they were accustomed to do, inquired of his host what had
become of him, and learning that he had left the city, they hastened to
remove the screen that concealed the picture, when they discovered their
saint solemnly crowned with gudgeons. Their rage now knew no bounds, and
they instantly despatched horsemen in pursuit of Buonamico,--but in
vain--the painter having found shelter in Florence. They then set an
artist of their own to remove the crown of fishes and replace the gilded
diadem, consoling themselves for the affront, by hurling maledictions at
the head of Buonamico and every other Florentine.

BUFFALMACCO'S NOVEL METHOD OF ENFORCING PAYMENT.

Buffalmacco painted a fresco at Calcinaia, representing the Virgin with
the Child in her arms. But the man for whom it was executed, only made
fair promises in place of payment. Buonamico was not a man to be trifled
with or made a tool of; therefore, he repaired early one morning to
Calcinaia, and turned the child in the arms of the Holy Virgin into a
young bear. The change being soon discovered, caused the greatest
scandal, and the poor countryman for whom it was painted, hastened to
the painter, and implored him to remove the cub and replace the child as
before, declaring himself ready to pay all demands. This Buonamico
agreed to do on being paid for the first and second painting, which last
was only in water colors, when with a wet sponge, he immediately
restored the picture to its peristine beauty. The Editors of the
Florentine edition of Vasari, (1846) say that "in a room of the priory
of Calcinaia, are still to be seen the remains of a picture on the
walls, representing the Madonna with the Child in her arms, and other
saints, evidently a work of the 14th century; and a tradition preserved
to this day, declares that painting to be the one alluded to by our
author."

STEFANO FIORENTINO.

This old Florentine painter was born in 1301. He was the grandson and
disciple of Giotto, whom, according to Vasari, he greatly excelled in
every department of art. From his close imitations of nature, he was
called by his fellow citizens, "Stefano the Ape," (ape of nature.) He
was the first artist who attempted to show the naked under his
draperies, which were loose, easy, and delicate. He established the
rules of perspective, little known at that early period