It was the great body of legends which grew up about St. Francis particularly, all of them bound up with supreme charity for one's neighbor, with love for all living creatures even the lowliest, with the tenderest feelings for every aspect of external nature, which appealed to the painters as a veritable light in the darkness of the times. It was especially in the churches founded by the disciples of "the poor little man of Assisi," that the world saw burst forth before the end of the century, the first grand flowers of that renewal of art which was to prove the beginning of modern art history. It is hard to understand what would have happened to the painters of the time without the spirit that was brought into the world by St. Francis' beautifully simple love for all and every phase of nature around him. This it was above all that encouraged the return to nature that soon supplanted Oriental formalism. It was but due compensation that the greatest works of the early modern painters should have been done in St. Francis' honor. Besides this the most important factor in art was the revival of the thirst for knowledge, which arose among the more intellectual portions of the {140} communities and developed an enthusiasm for antiquity which was only a little later to become a veritable passion. The most important phase of Italian art during the Thirteenth Century is that which developed at Florence. It is with this that the world is most familiar. It began with Cimabue, who commenced painter, in the quaint old English phrase, not long before the middle of the century and whose great work occupies the second half of it. There are not wanting some interesting traditions of certain other Florentine painters before his time as Marchisello, of the early part of the century, Lapo who painted, in 1261, the facade of the Cathedral at Pistoia, and Fino di Tibaldi who painted a vast picture on the walls of the Municipal Palace about the middle of the century, but they are so much in the shadow of the later masters' work as to be scarcely known. Everywhere Nature began to reassert herself. The workers in Mosaic even, who were occupied in the famous baptistry at Florence about the middle of the century, though they followed the Byzantine rules of their art, introduced certain innovations which brought the composition and the subjects closer to nature. These are enough to show that there was a school of painting and decoration at Florence quite sufficient to account for Cimabue's development, without the necessity of appealing to the influence over him of wandering Greek artists as has sometimes been done.