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that "he contributed greatly to the perfection of the art," della Valle asserts, that "he did it neither good nor harm;" and that having closely examined the pictures of Cimabue, "he has found in them a ruder style than appears in those of Giunta Pisano, of Guido da Siena, of Jacopo da Turrita, &c." (tom. i. p. 235.) Of the two last I shall speak elsewhere. With respect to the first, the writer contradicts himself four pages after; when, commenting on another passage of the historian relating to certain pictures of Cimabue, executed in Assisi in the inferior church of S. Francesco, he says, that "he there, in his opinion, surpassed Giunta Pisano." It is to be remembered that this was his first work, or amongst the first that Cimabue painted in Assisi. When he went thither, therefore, he was a better artist than Giunta. How, then, when he worked in the superior church, in Assisi, and in so many other places, did he become so bad a painter, and more uncouth than Giunta himself?

      FLORENTINE SCHOOL.

      EPOCH I.

      Florentine Painters who lived after Giotto to the end of the fifteenth century.

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