the life-like
quality of his art, though there is something dignified and stately
in the picture of the Virgin and Child with angels that he painted
for the Church of St. Francis at Assisi. Another story is told by Vasari
of a picture by Cimabue, which tradition asserts to be the great Madonna,
still in the Church of Santa Maria Novella at Florence.

Cimabue painted a picture of Our Lady for the church of Santa Maria
Novella. The figure was of a larger size than any which had been
executed up to that time, and the people of that day who had never
seen anything better, considered the work so marvellous that they
carried it to the church from Cimabue's house in a stately procession
with great rejoicing and blowing of trumpets, while Cimabue himself
was highly rewarded and honoured. It is reported, and some records
of the old painters relate, that while Cimabue was painting this
picture in some gardens near the gate of S. Piero, the old King Charles
of Anjou passed through Florence. Among the many entertainments
prepared for him by the men of the city, they brought him to see the
picture of Cimabue. As it had not then been seen by any one, all the
men and women of Florence flocked thither in a crowd with the greatest
rejoicings, so that those who lived in the neighbourhood called the
place the 'Joyful Suburb' because of the rejoicing there. This name
it ever afterwards retained, being in the course of time enclosed
within the walls of the city.

For this story we may thank Vasari, because it helps us to realize
the love the people of Florence felt for the pictures in their churches,
and the reverence in which they held an artist who could paint a more
beautiful picture of the Virgin and Child than any they had seen before.
It is difficult to think of the population of a town to-day walking
in procession to honour the painter of a fine picture; but a picture
of the Madonna was a very precious thing indeed to a Florentine of
the thirteenth century, and we may try to imagine ourselves walking
joyfully in that Florentine procession so as the better to understand
Florentine Art.

I have repeated this legend about Cimabue, because he was the master
of Giotto, who is called the Father of Modern Painting. The story is
that Cimabue one day came upon the boy Giotto, who was a shepherd,
and found him drawing a sheep with a pointed piece of stone upon a
smooth surface of rock. He was so much struck with the drawing that
he took t