Four school pictures (Nos. 1313, 1315-1317) illustrate the example set by Giotto, who influenced very strongly indeed all art-manifestation during the fourteenth century, an age when the human body was denied all intrinsic significance. His profound feeling, gay colour, high dramatic power, and sense of form mark the emancipation of Italian art from the rigid formalism of the Byzantine manner. He discovered a style which was admirably suited to the spirit of his time, and developed for his own purposes a sense of perspective which he employed with considerable effect, although he never really found a scientific statement of the artistic principles which he instinctively perceived. His indefatigable energy and innate genius enabled him to distance his rivals and to bequeath to his countrymen a heritage which profoundly affected the art of Italy. Foremost among his followers, who imitated his mannerisms without understanding the full significance of his ideas, was Taddeo Gaddi (1300?-1366), to whom are assigned in the official Catalogue the predella pictures (No. 1302) of (_a_) _The Death of St. John the Baptist_, (_b_) _Calvary_, and (_c_) _Judas Iscariot_. Taddeo Gaddi, a painter and architect, was the godson and pupil of Giotto as well as the pupil of his father, Gaddo Gaddi. Taddeo’s desire to give suitable expression to each of his figures often resulted, as in that of the daughter of Herodias in the second of these panels, in exaggeration. Taddeo’s son, Agnolo Gaddi (1333-1396), who was described by Ruskin as “rather stupid in religious matters and high art,” may be the painter of the _Annunciation_ (No. 1301), in which we see the Virgin seated in a loggia to the right of the picture. The Archangel Gabriel announces, by the gesture of the right hand, that the Virgin shall be the Mother of the Christ. God the Father is shown in the heavens. Notice the gold background and the mosaics of the loggia. The mechanical methods and uninspired aims of the Giottesques, the artists who worked during the century which followed the death of Giotto, are well seen in the productions of Lorenzo di Bicci (fl. 1370-1409), his son Bicci di Lorenzo (fl. 1373-1424), and his grandson Neri di Bicci (1419-1491). Neri is represented by a _Madonna and Child_ (No. 1397). He might justly be described as a mere manufacturer of Giottesque pictures to order. He brought art down to the level of a trade, his work being flat and his colour raw and inharmonious. A _Virgin and Infant Christ_ (No. 1563), inscribed “TVRINVS VANNIS DE PISIS ME PIQSIT P,” is evidently by Turino Vanni (fl. 1390-1398), a rare artist of this group of Florentine painters. The brief list of his pictures might be increased by having added to it a few panels at Pisa and Assisi, which are erroneously ascribed to Buffalmacco.