permanency of the spirit of discipline, the very year that set Matteo Villani in despair, 1348, gave him also a chapter on the founding of the Studio, a school of higher learning which eventually became the University of Florence. And the course of art for most of the fifteenth century was to be a constant interplay and rivalry between the Florence of the tavern and race-course and the Florence of the Studio, with a final victory for the latter. Oddly enough, the new luxury and gayety and the new scholarship conspired to make the old painting inadequate. The panoramic style of the fourteenth century was too simple and unornate for the Frenchified Florentines; for the new generation of strenuous artists, it was too slight and unskilful. All the finer spirits at the beginning of the fifteenth century are malcontents. Their unrest expressed itself, according to temperament, in progress or reaction. The dominating artist of the moment was a reactionary, Don Lorenzo Monaco,[29] Camaldolese monk. Turning from the superficiality of the current Florentine style, he sought his corrective at Siena, his birthplace, in the decorative exquisiteness of Simone Martini and the narrative warmth and breadth of the Lorenzetti; and he imports these qualities into Florence in an art as aristocratic and retrospective as that of our own Pre-Raphaelites. In his hands Gothic painting takes a new and unwarranted lease of life. He is a brilliant colorist, a fastidious designer, an austere spirit. Even his great Sienese exemplars have hardly surpassed his masterpiece, the Coronation of the Virgin, in the Uffizi. It is dated 1413. In the richness of the Gothic frame, the profusion of small incidental figures, the festooning curves of the swaying saints and angels, and formal symmetry of arrangement, it well represents the most florid type of Gothic painting as developed at Siena. It is hard to realize that this lovely mediæval work was painted at the moment when Brunellesco and his friends were already turning sharply to nature and to the vision of Hellas. But Lorenzo was a cloistered man, and appropriately a votary of past perfections. His devout mood is best expressed in the gracious Annunciation, Figure 71, which has happily never left its original altar in the Church of the Trinità. Here Lorenzo follows the Lorenzettian canons of space. A girlish delicacy in the obedient Virgin is a new note, to be echoed more sweetly by Lorenzo’s best follower, Fra Angelico. Lorenzo died in 1425. Masaccio had already created the new style of painting, but for a couple of decades faithful disciples of Don Lorenzo carried on his style.