of Bologna, since Oderigi lived there, and instructed Franco, from whom Bologna dates the series of her painters. It is thought, too, that he left some scholars in his native place, and not long after him, in 1321, we find Cecco, and Puccio da Gubbio, engaged as painters of the Cathedral of Orvieto; and about the year 1342, Guido Palmerucci of the same place, employed in the palace of his native city. There remains a work of his in fresco in the hall, much injured by time; but some figures of saints are still preserved, which do not yield to the best style of Giotto. Some other vestiges of very ancient paintings are to be seen in the Confraternita de' Bianchi; in whose archives it is mentioned that the picture of S. Biagio was repaired by Donato, in 1374; whence it must necessarily be of a very early period. This and other interesting information I obtained from Sig. Sebastiano Rangliasci, a noble inhabitant of Gubbio, who has formed a catalogue of the artists of his native city, inserted in the fourth volume of the last edition of Vasari.

We are now arrived at the age of Giotto, and the first who presents himself to us is Pietro Cavallini, who was instructed by Giotto, in Rome,^[8] in the arts of painting and mosaic, both of which he followed with skill and intelligence. The Roman Guide makes mention of him, and that of Florence refers to a Nunziata at S. Mark; and there are others mentioned by Vasari as being in the chapels of that city; one of which is in the Loggia del Grano. The most remarkable of his works is to be seen in Assisi. It is a fresco, and occupies a large façade in one division of the church. It represents the crucifixion of our Saviour, surrounded by bands of soldiers, foot and horse, and a numerous crowd of spectators, all varying in their dress and the expression of their passions. In the sky is a band of angels, whose sympathizing sorrow is vividly depicted. In extent and spirit of design it partakes of the style of Memmi, and in one of the sufferers on the cross he has shewn that he justly appreciated and successfully followed his guide. The colours are well preserved, particularly the blue, which there, and in other parts of the church, presents to our admiring gaze, to use the language of our poets, a heaven of oriental sapphire.

Vasari does not appear to have been acquainted with any scholar of Pietro Cavallini, except it be Giovanni da Pistoja; but Pietro, who lived in Rome the greater part of his life, which was extended to a period of eighty-five years, must have contributed his aid in no small degree to the advancement of art, in the capital, as well as in other places. However this may be, in that part of Italy, pictures of his school are still found; or at least memorials of art of the age in which he flourished. We have an Andrea of Velletri, of whom a specimen is preserved in the select collection of the Museo Borgia, with the Virgin surrounded by saints, a common subject at that period in the churches, as I have before observed. It has the name of the painter, with the year 1334, and in execution approaches nearer to the school of Siena than any other. In the year 1321 we find Ugolino Orvietano, Gio. Bonini di Assisi, Lello Perugino, and F. Giacomo da Camerino, noticed by us in another place, all employed in painting in the Cathedral of Orvieto. Mariotti, in his letters, mentions other artists of Perugia, and the memory of a very early painter of Fabriano is preserved by Ascevolini, the historian of that city, who informs us, that in the country church of S. Maria Maddalena, in his time, there was a picture in fresco, by Bocco, executed in 1306. A Francesco Tio da Fabriano, who in 1318 painted the tribune of the Conventuals at Mondaino, is mentioned by Colucci, (tom. xxv. p. 183). This work has perished; but the productions of a successor of his at Fabriano are to be seen in the oratory of S. Antonio Abate, the walls of which remain. Many histories of the saint are there to be found, divided into pictures, in the early style, and inscribed, Allegrettus Nutii de Fabriano hoc opus fecit 136.... The art in these parts was not a little advanced by their proximity to Assisi, where Giotto's scholars were employed after his death, particularly Puccio Capanna of Florence. This artist, who is esteemed one of the most successful followers of Giotto, after painting in Florence, in Pistoja, Rimino, and Bologna, is conjectured by Vasari to have settled in Assisi, where he left many works behind him.

We shall find the succeeding century more fruitful in art, as the Popes at that time forsook Avignon, and, re-establishing themselves in Rome, began to decorate the palace of the Vatican, and to employ painters of celebrity both there and in the churches. There does not appear any person of distinction amongst them as a native of Rome. From the Roman State we find Gentile da Fabriano, Piero della Francesca, Bonfigli, Vannucci, and Melozzo, who first practised the art of sotto in su; and amongst the strangers are Pisanello, Masaccio, Beato Angelico, Botticelli and his colleagues. Amongst these too, it is said, was to be found Mantegna, and there still remains the chapel painted by him for Innocent VIII. although since converted to another purpose. Each of these artists I shall notice in their respective schools, and shall here only mention such as were found in the country from the Ufente to the Tronto, and from thence to the Metauro, which are the confines of our present class. The names of many others may be collected from books; as an Andrea, and a Bartolommeo, both of Orvieto, and a Mariotto da Viterbo, and others who worked at Orvieto from 1405 to 1457; and some who painted in Rome itself, a Giovenale and a Salli di Celano, and others now forgotten. But without pausing on these, we will advert to the artists of Piceno, of the State of Urbino, and the remaining parts of Umbria: where we shall meet with the traces of schools which remained for many years.

The school of Fabriano, which seems very ancient in Picenum, produced at that time Gentile, one of the first painters of his age, of whom Bonarruoti is reported to have said, that his style was in unison with his name. The first notice we have of him is among the painters of the church of Orvieto, in 1417; and then, or soon afterwards, he received from the historians of that period the appellation of magister magistrorum, and they mention the Madonna which he there painted, and which still remains. He afterwards resided in Venice, where, after ornamenting the Palazzo Publico, he was rewarded by the republic with a salary, and with the privilege of wearing the patrician dress of that city. He there, says Vasari, became the master, and, in a manner, the father of Jacopo Bellini, the father and preceptor of two of the ornaments of the Venetian school. These were Gentile, who assumed that name in memory of Gentile da Fabriano, born in 1421; and Giovanni, who surpassed his brother in reputation, and from whose school arose Giorgione and Titian. He (Gentile da Fabriano) was employed in the Lateran, at Rome, where he rivalled Pisanello, in the time of Martin V.; and it is to be regretted that his works, both there and in Venice, have perished. Facio, who eulogizes him, and who had seen his most finished performances, extols him as a man of universal art, who represented, not only the human form and edifices in the most correct manner, but painted also the stormy appearances of nature in a style that