This tradition was not confined to Italy alone, but found its way also into many of the eastern churches. The author of the _Anecdotes des Beaux Arts_, relates that the memory of a Luca, a hermit, who had painted many rude portraits of the Virgin, was held in great veneration in Greece; and that through a popular superstition he had succeeded to the title of S. Luke the Evangelist. Tournefort (_Voyage, &c._) mentions an image of the Virgin at Mount Lebanon, attributed by the vulgar to S. Luke; but which was doubtless also the work of some Luke, a monk in one of the early ages. More considerable remains both of the Greek and Italian artists of the 13th century are to be found in Assisi, as related in my first book; and to those already mentioned as painted on the walls, may be added others on panel, and all by unknown artists; particularly a crucifixion in S. Chiara, of which there is a tradition, that it was painted before Giunta appeared. Another picture anterior to this period, and bearing the date of 1219, is to be seen at Subiaco; it is a consecration of a church, and the painter informs us that _Conciolus pinxit_. If in addition to these artists we inquire after the miniature painters, we may find specimens of them in abundance, in the library of the Vatican, and other collections in Rome. I shall name S. Agostino, in the public library of Perugia, where the Redeemer is seen in the midst of saints, and the opening of Genesis is painted in miniature; a design which, from the angular folds of the drapery, partakes of the Greek style, but still serves to prove this art to have been known at that time in Umbria. In addition to what I have remarked, I may also observe, that in Perugia, in the course of the same century, the artists were sufficiently numerous to form an academy, as we may collect from the _Lettere Perugine_, and these, when we consider the time, must have been in great part miniature painters.