To Bartolo di Maestro Fredi (1330?-1410), who came under the influence of Lippo Memmi and the Lorenzetti, is given a _Presentation in the Temple_ (No. 1151). Paolo di Giovanni Fei (fl. 1372-1410), whose pictures are rarely met with out of Italy, may be regarded as the author of the _Madonna and Saints_ (No. 1314) which is officially held to be by an unknown Florentine painter of the school of Giotto. The Louvre possesses no example of the art of Sassetta (1392-1450), who, together with Paolo di Giovanni Fei, deeply impressed Giovanni di Paolo (1403?-1482). The latter may be credited with the small panel (No. 1659A) which is officially entitled _The Entry of Pope Martin into the Castle of Saint Angelo_, and included in the Catalogue as being by an unknown Florentine, but labelled “School of Masaccio.” There can be no doubt that this quaint little picture depicts _Pope Gregory the Great’s Vision of the Archangel Michael sheathing his Sword over the Castle of Saint Angelo_. According to the legend, Gregory had been indefatigable in nursing the plague-stricken in Rome in the sixth century, and while on his way at the head of a procession to offer up prayer for the cessation of the plague, saw “the warrior of God” in the attitude here shown. Gregory, after fleeing from those who wished to make him Pope, was elected to wear the papal tiara under the title of Gregory the Great. He is chiefly known to us as having sent missionaries to preach the gospel in England, having been moved to pity by seeing British captives exposed for sale in Rome, and for his arrangement of the music of the chants which are after him known as Gregorians. The official title of the picture, on the other hand, assumes that we have here Pope Martin V., a man of saintly character, making his entry into Rome in 1421 amid the acclamations of the people. He had been elected Pope in 1417 on the deposition of John XXIII. By this time the art of Siena had progressed some distance on the road that its religious aspirations and technical accomplishments indicated, but it soon became evident that the more intellectual aims of Florentine art were shaping the course of all the painters of Italy. THE FLORENTINE SCHOOL Although we have begun our study of the art of Italy with a review of the Sienese School, which owes its importance to Duccio, the earliest Italian picture in the Louvre is the _Madonna and Angels_ (No. 1260), which may be accepted as a characteristic example of the type of picture that passes under the name of Cimabue (1240?-1302).