ds appears to be that of the
painters, at least in Siena, where one was established in 1355, while in
Florence they were obliged to enrol themselves in the "Art" of the
"medici e speziali," unless they preferred, as many of them did, to be
reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
the Painters' Guild in 1361, while the workers in stone formed their
guild still later. Among the painters were included designers of every
sort--moulders, and workers in plaster, stucco, and papier mache, gold
beaters, tin beaters, &c., and masters and apprentices in stained glass,
also makers of playing cards--a most comprehensive guild. Vasari, in his
life of Jacopo Casentino, architect and painter, says, however, "Towards
1349 the painters of the old Greek style, and those of the new,
disciples of Cimabue, finding themselves in great number, united and
formed at Florence a company under the name and protection of S. Luke
the Evangelist"; and Baldinucci, in his "Notizie dei professori di
disegno," prints the articles of association at length. Others hold that
the Confraternita dei Pittori was not founded till 1386.

[Illustration: Plate 5.--_Figure intarsia from the Sacristy of the
Cathedral, Florence._

THE PROPHET AMOS.

_This and the two succeeding are part of the same composition._

_To face page 18._]

[Illustration: Plate 6.--_Figure intarsia from the Sacristy of the
Cathedral, Florence._

THE ANNUNCIATION.]

[Illustration: Plate 7.--_Figure intarsia from the Sacristy of the
Cathedral, Florence._

THE PROPHET HOSEA.]

The rapid rise of the last-named city in wealth and importance was the
reason that so much of the best later 15th century inlaid work was done
there, or at least by Florentines, though the art was not new to
Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
del Mulinella, and Domenico Tassi being recorded as working there in the
14th century. Vasari, as usual, is somewhat inaccurate; he says that
tarsia was first introduced in the time of Brunelleschi and Paolo
Uccello, "that, namely, of conjoining woods, tinted of different
colours, and representing with these buildings in perspective, foliage,
and various fantasies of different kinds." Both he and Lanzi say that
Brunelleschi gave lessons in perspective and "tarsia" to architects and
others, of which Masaccio in painting and Benedetto da Majano in his
inlaid works availed themselves. Vasari held but a poor op