This was the era when pictorial art was freeing its wings from the shackles of tradition and set conventionalism, and from the bondage of working under the rule of another art like architecture. The painters, especially when the oil process was invented, saw a new and independent career open before them, and struck for freedom. The Sienese led the way. In 1355 they seceded from the Masonic Guild, and even forsook their four crowned Saints; inaugurating their own company under the banner and protection of St. Luke. They called it _L' Arte de' Pittori Senesi_. In reading their laws[209] one cannot but recognize that they were framed on the same lines as those of the Masonic Guild, the chief changes being the difference of patron saint, and the omission of some technical rules relating especially to architecture. [Illustration: FRESCO AT S. GIMIGNANO. BY MAGISTER BARNA OF SIENA. _See page 278._] The names of the artists forming this first school of painting are sufficient proof of their former connection with the Comacine Guild. Here is Francesco di Vannuccio, who was called in a council of the _Opera_ in 1356, and Lando di Stefano di Meo, whose name appears first in the Masonic Guild, and then among the painters; Andrea di Vanni, whose father and ancestors had been in it, and who in 1318 was himself working in the Duomo of Siena with his father, where he is entered in the books as Andreuccio (poor little Andrea) di Vanni. There are sundry other members of the Vanni family, some of whom were on the lists of the Masonic Guild before they are found as painters. Then there was Bartolo, son of Magister Fredi, with his son Andrea and grandson Giorgio. Bartolo must have been an old man at this time, so that his frescoes at S. Gimignano would have been done before the painters seceded. We find also Andrea and Benedetto di Bindo in 1363 inscribed in the roll of "Magistri lapidum," and in 1389 in that of the painters; several of their family have also enrolled themselves there. This Magister Bindo was a Lombard from Val D'Orcia; other Comacine names are there also, such as Domenico di Valtellino, and Cristofano di Chosona (Cossogna, near Pallanza). I believe that after this secession the churches were no longer so entirely decorated with frescoes. Altar-pieces, introduced by Giotto and Lorenzo Monaco, partially took their place. In 1386 the painters of the Florentine Lodge followed the example of their _confrères_ at Siena, and put themselves also under the protection of St. Luke. They called themselves the _Confraternità dei Pittori_. The meeting-place of this Confraternity was in the old church of S. Matteo, now no more. Their first company lasted till the time of Cosimo I., who patronized it, and superintended its reorganization in 1562. In Medicean times great _fêtes_ were held on St. Luke's Day, by the Academy, and all the best pictures in Florence were hung in the cloisters of the Servite monks.