“To make a good painter let him have At ready and eager hand the drawing of Rome, The movement with the shading of Venice, And the dignified coloring of Lombardy. The terrible manner of Michelangelo And Correggio’s pure and sovereign style And the true symmetry of Raphael, Tibaldi’s decorum and substance, The inventiveness of learned Primaticcio And a little of Parmigianino’s grace. Not without having strenuously made such studies Let him place before himself for imitation The works which our Niccolò has left here.” THE END NOTES CHAPTER I. Footnote 1: For the altar as tomb-shrine see Yrjö Hirn’s learned and fascinating book, _The Sacred Shrine_, London, 1912. Footnote 2: For the Byzantine pictorial style see the excellent summary in _Fogg Art Museum, Collection of Mediaeval and Renaissance Paintings_, Harvard Univ. Press, 1919, pp. 3–10; also a more extended treatment in O. M. Dalton _Byzantine Art and Archaeology_, Oxford, 1911, chapters V, VI, VII. Footnote 3: For the influence of St. Dominic, St. Thomas Aquinas, and St. Francis read the respective chapters in Taylor, _The Mediaeval Mind_; for St. Francis, Thomas Okey’s translation, _The little Flowers of St. Francis_ in “Everyman’s Library.” E. Gebhart, _Italie Mystique_, Paris, 1908, is also enlightening. Footnote 4: _Burlington Magazine_, Vol. XXXII (1918) pp. 45–6. Mr. Berenson in _Rassegna d’Arte, “Dedalo,”_ Vol. II., (1921) fasc. V, makes this superb Madonna a Constantinople picture of the late 12th century. His confessedly slight argument fails to convince me. Aside from the air of the picture, the form of the wooden throne is specific for Tuscany and the second half of the 13th century. _Cimabue._ Andreas Aubert, _Cimabue Frage_, Leipzig, 1907, is the standard work. The various views on the early frescoes of the Upper Church at Assisi are well summarized in Brown and Rankin, _A Short History_, pp. 54 and 57–59. An unsuccessful attempt to reduce Cimabue to a myth has been made by Langton Douglas in his edition of _C. &. C._, Vol. I., p. 187–193. The constructive and accepted view is that of Aubert. My list differs slightly from his and is: Louvre Madonna, about 1275, Louvre. Trinità Madonna, about 1285, Uffizi. The frescoes of the Choir and transepts of S. Francesco at Assisi, saving possibly the big Ascent to the Cross, circa 1296, Assisi. Madonna with St. Francis (fresco), after 1290, Assisi, Lower Church of San Francesco. St. John in mosaic in the Apse of the Cathedral at Pisa, 1301.