Two other Madonnas painted by him, one at Florence in the Academy, the other in Paris in the Louvre, besides his great Mosaic in the apse of the Cathedral at Pisa, serve to show with what prudence Cimabue introduced naturalistic qualities into art, while always respecting the tradition of the older art and preserving the solemn graces and the majestic style of monumental painting. The old frescoes of the upper church at Assisi which represent episodes in the life of St. Francis have also been attributed to Cimabue, but evidently were done by a number of artists probably under his direction. It is easy to {142} see from them what an important role the Florentine artist played in directing the gropings of his assistant artists. After Cimabue the most important name at Florentine in the Thirteenth Century is that of his friend, Gaddo Gaddi, whose years of life correspond almost exactly with those of his great contemporary. His famous Coronation of the Virgin at Santa Maria de Fiore in Florence shows that he was greatly influenced by the new ideas that had come into art. Greater than either of these well-known predecessors however, was Giotto the friend of Dante, whose work is still considered worthy of study by artists because of certain qualities in which it never has been surpassed nor quite outgrown. From Giotto, however, we shall turn aside for a moment to say something of the development of art in other cities of Italy, for it must not be thought that Florence was the only one to take up the new art methods which developed so marvelously during the Thirteenth Century. Even before the phenomenal rise of modern art in Florence, at Pisa, at Lucca and especially at Siena, the new wind of the spirit was felt blowing and some fine inspirations were realized in spite of hampering difficulties of all kinds. The Madonna of Guido in the Church of St. Dominic at Siena is the proof of his emancipation. Besides him Ugolino, Segna and Duccio make up the Siena school and enable this other Tuscan city to dispute even with Florence the priority of the new influence in art. At Lucca Bonaventure Berlinghieri flourished and there is a famous St. Francis by him only recently found, which proves his right to a place among the great founders of modern art. Giunta of Pisa was one of those called to Assisi to paint some of the frescoes in the upper church. He is noted as having striven to make his figures more exact and his colors more natural. He did much to help his generation away from the conventional expressions of the preceding time and he must for this reason be counted among the great original geniuses in the history of art.