t as anything written by a contemporary of
William Shakespeare; and even if we are required to believe that some of
his most important works are by another hand, his influence on the
history of art is beyond question. Let us then follow Vasari a little
further, and we shall find, at any rate, what is typical of the
development of genius.

"This youth," Vasari continues, "being considered by his father and
others to give proof of an acute judgment and a clear understanding, was
sent to Santa Maria Novella to study letters under a relation who was
then master in grammar to the novices of that convent. But Cimabue,
instead of devoting himself to letters, consumed the whole day in
drawing men, horses, houses, and other various fancies on his books and
different papers--an occupation to which he felt himself impelled by
nature."

This is exactly what is recorded of Reynolds, it may be noted, and very
much the same as in the case of Gainsborough, Benjamin West--and many a
modern painter.

"This natural inclination was favoured by fortune, for the governors of
the city had invited certain Greek (probably Byzantine) painters to
Florence, for the purpose of restoring the art of painting, which had
not merely degenerated but was altogether lost. These artists, among
other works, began to paint the chapel of the Gondi in Santa Maria
Novella, and Cimabue, often escaping from the school, and having
already made a commencement of the art he was so fond of, would stand
watching these masters at their work. His father, and the artists
themselves, therefore concluded that he must be well endowed for
painting, and thought that much might be expected from him if he devoted
himself to it. Giovanni was accordingly, much to his delight, placed
with these masters, whom he soon greatly surpassed both in design and
colouring. For they, caring little for the progress of art, executed
their works not in the excellent manner of the ancient Greeks, but in
the rude modern style of their own day. Wherefore, though Cimabue
imitated them, he very much improved the art, relieving it greatly from
their uncouth manner and doing honour to his country by the name that he
acquired and by the works which he performed. Of this we have evidence
in Florence from the pictures which he painted there--as for example the
front of the altar of Saint Cecilia and a picture of the Virgin, in
Santa Croce, which was and still is (_i.e._ in 1550) attached to one of
the