It happened, however, that Charles of Anjou, being on his way to Naples, stopped in Florence, where the nobles did everything in their power for his entertainment. Among other places they took him to the studio of Cimabue, who uncovered his picture for the first time. Many persons then flocked to see it, and were so loud in their joyful expressions of admiration for it that the part of the city in which the studio was has since been called the _Borgo Allegri_, or the "joyous quarter." When the picture was completed the day was celebrated as a festival; a procession was formed; bands of music played joyful airs; the magistrates of Florence honored the occasion with their presence; and the picture was borne in triumph to the church. Cimabue must have been very happy at this great appreciation of his art, and from that time he was famous in all Italy. [Illustration: FIG. 28.--THE MADONNA OF THE CHURCH OF SANTA MARIA NOVELLA.] Another madonna by this master is in the Academy of Florence, and one attributed to him is in the Louvre, in Paris. Cimabue died about 1302, and was buried in the Church of Santa Maria del Fiore, or the Cathedral of Florence. Above his tomb these words were inscribed: "Cimabue thought himself master of the field of painting. While living, he was so. Now he holds his place among the stars of heaven." Other artists who were important in this early time of the revival of painting were ANDREA TAFI, a mosaist of Florence, MARGARITONE OF AREZZO, GUIDO OF SIENA, and of the same city DUCCIO, the son of Buoninsegna. This last painter flourished from 1282 to 1320; his altar-piece for the Cathedral of Siena was also carried to its place in solemn procession, with the sound of trumpet, drum, and bell. GIOTTO DI BONDONE was the next artist in whom we have an unusual interest. He was born at Del Colle, in the commune of Vespignano, probably about 1266, though the date is usually given ten years later. One of the best reasons for calling Cimabue the "Father of Painting" is that he acted the part of a father to Giotto, who proved to be so great an artist that from his time painting made a rapid advance. The story is that one day when Cimabue rode in the valley of Vespignano he saw a shepherd-boy who was drawing a portrait of one of his sheep on a flat rock, by means of a pointed bit of slate for a pencil. The sketch was so good that Cimabue offered to take the boy to Florence, and teach him to paint. The boy's father consented, and henceforth the little Giotto lived with Cimabue, who instructed him in painting, and put him to study letters under Brunetto Latini, who was also the teacher of the great poet, Dante. [Illustration: FIG. 29.--PORTRAIT OF DANTE, PAINTED BY GIOTTO.]