Later on in the twelfth century, and during the first half of the thirteenth century, art in Italy was mainly a feeble reflection of the then degraded art of the Byzantines. This was partly due to the introduction into Italy of mosaic-workers from Constantinople, such as those who decorated the vault of the old Cathedral of Florence (now the Baptistery) with badly drawn but grandly decorative mosaics of the Day of Doom[175]. _Oderisi of Gubbio._ Little is known of the two illuminators of manuscripts who are immortalized by Dante (_Purg._ xi. 79-83). Oderisi of Gubbio, whom Dante calls the "Honour of the art that in Paris is called _alluminare_," is said to have been employed by Pope Boniface VIII. to illuminate manuscripts in Rome about the time of the great Jubilee of 1300, when Dante visited Rome as an envoy from Florence. _Franco of Bologna._ Franco (Francesco) of Bologna is the other miniaturist mentioned by Dante as an artist of great merit; nothing is known of him or of his works. During the thirteenth and fourteenth centuries Bologna was one of the chief Italian centres for the production of manuscripts, partly on account of its being the seat of one of the oldest and most important Universities of Europe. [Illustration: Fig. 47. Illumination from an Italian manuscript executed for the Countess Matilda in the twelfth century; this illustrates the extreme decadence of art in Italy before the thirteenth century.] _MS. of Giotto's school._ One of the finest manuscripts of the Florentine school, executed by an unknown _miniatore_ of the school of Giotto, is a _Missal_ in the Chapter library of the Canons of Saint Peter's in Rome. The arms of the donor, repeated several times among the floreated borders, show that the manuscript was illuminated for Giotto's patron Cardinal Gaetano Stefaneschi, probably between 1330 and 1340. The same volume contains, by the same illuminator's hand, a richly illuminated _Life of Saint George_, with large historiated capitals of great beauty and finely decorative colouring. Fig. 48 shows one of the initials with Saint George slaying the dragon, and the Princess Saba kneeling at the side. _Italian art in France._ In some cases, especially during the fourteenth century, skilful Italian illuminators appear to have worked in France. Many French and even Flemish manuscripts, such as some of those executed for Philip of Burgundy and the Duc de Berri towards the end of the century, show distinctly two styles of painting, French and Italian, the book evidently being the work of two different artists. Some of these Italian paintings in French manuscripts suggest the hand of a disciple of Simone Martini (Memmi), or some artist of the very decorative Sienese school; this was probably in many cases due to the introduction of Italian painters into Avignon when the Papal court was resident there; see page 140. _Late artistic revival._