kind, such as the church required: kings were his visitors, and the people of Florence paid him honors almost divine. CIMABUE'S PASSION FOR ART. Cimabue gave early proof of an accurate judgment and a clear understanding, and his father designed to give him a liberal education, but instead of devoting himself to letters, says Vasari, "he consumed the whole day in drawing men, horses, houses, and other various fancies on his books and different papers--an occupation to which he felt himself impelled by nature; and this natural inclination was favored by fortune, for the governors of the city, had invited certain Greek painters to Florence, for the purpose of restoring the art of painting, which had not merely degenerated, but was altogether lost; those artists, among other works, began to paint the chapel of Gondi, situated next to the principal chapel in S. Maria Novella, where Giovanni was being educated, who often escaping from school, and having already made a commencement in the art he was so fond of, would stand watching these masters at their work the day through." Vasari goes on to say, that this passion at length induced his father, already persuaded that he had the genius to become a great painter, to place Giovanni under the instruction of these Greek artists. From this time, he labored incessantly day and night, and aided by his great natural powers, he soon surpassed his teachers. CIMABUE'S FAMOUS PICTURE OF THE VIRGIN. Cimabue had already distinguished himself by many works, executed in fresco and distemper for the churches at Florence, Pisa, and Assisi, when he painted his famous picture of the Holy Virgin for the church of S. Maria Novella in the former city. This picture was accounted such a wonderful performance by his fellow citizens, that they carried it from the house of Cimabue to the church in solemn procession, with sound of trumpets and every demonstration of joy. "It is further reported," says Vasari, "that whilst Cimabue was painting this picture in a garden near the gate of San Pietro, King Charles the elder, of Anjou, passed through Florence, and the authorities of the city, among other marks of respect, conducted him to see the picture of Cimabue." This picture, representing the Virgin and Infant Jesus surrounded by angels, larger than life, then so novel, was regarded as such a wonderful performance, that all the people of Florence flocked in crowds to admire it, making all possible demonstrations of delight. It still adorns the chapel of the Rucellai family in the church of S. Maria Novella for which it was painted. The heads of the Virgin, of the infant Jesus, and the angels, are all fine, but the hands are badly drawn; this defect, however, is common with the Quattrocentisti, or artists of the 14th century. The editors of the Florentine edition of Vasari, commenced in 1846, by an association of learned Italians, observe, "This picture, still in fair preservation, is