nt influence over the schools of
Umbria, and gave a peculiar quality to Perugian painting. Through Piero
della Francesca, a native of Borgo San Sepolcro, the Florentine tradition
was extended to Umbria and the Roman States. Perugia might be even
geographically claimed for Tuscany, inasmuch as the Tiber divides the old
Etrurian territory from the Umbrians and the duchy of Spoleto. Lionardo
was a Tuscan settled as an alien in Milan. Raphael, though a native of
Urbino, derived his training from Florence, indirectly through his father
and his master Perugino, more immediately from Fra Bartolommeo and
Michael Angelo.

[123] If Vasari is to be trusted, this visit of Charles of Anjou to
Cimabue's studio took place in 1267; but neither the Malespini nor
Villani mention it, and the old belief that the Borgo Allegri owed its
name to the popular rejoicing at that time is now somewhat discredited.
See Vasari, Le Monnier, 1846, vol. i. p. 225, note 4. Gino Capponi, in
his _Storia della Repubblica di Firenze_, vol. i. p. 157, refuses however
to reject the legend.

[124] See Capponi, vol. i. pp. 59, 78, for a description of the gay and
courteous living of the Florentines upon the end of the thirteenth
century.

[125] See the _Descrizione della Peste di Firenze_.

[126] I wish I could here transcribe the most beautiful passage from
Ruskin's _Giotto and his Works in Padua_, pp. 11, 12, describing the
contrast between the landscape of Valdarno and the landscape of the hills
of the Mugello district. I can only refer readers to the book, printed
for the Arundel Society, 1854.

[127] See Trucchi, _Poesie Italiane Inedite_, vol. ii. p. 8.

[128] See above, Chapter III, Relation of Sculpture to Painting.

[129] The wonderful beauty of Orcagna's faces, profile after profile laid
together like lilies in a garden border, can only be discovered after
long study. It has been my good fortune to examine, through the kindness
of Mrs. Higford Burr, of Aldermaston, a large series of tracings, taken
chiefly by the Right Hon. A. H. Layard, from the frescoes of Giottesque
and other early masters, which, by the selection of simple form in
outline, demonstrate not only the grand composition of these religious
paintings, but also the incomparable loveliness of their types. How great
the _Trecentisti_ were as draughtsmen, how imaginative was the beauty of
their conception, can be best appreciated by thus artificially separating
their design from their