Distribution of Artistic Gifts in Italy—Florence and Venice —Classification by Schools—Stages in the Evolution of Painting—Cimabue —The Rucellai Madonna—Giotto—His widespread Activity—The Scope of his Art—Vitality—Composition—Colour—Naturalism—Healthiness—Frescoes at Assisi and Padua—Legend of S. Francis—The Giotteschi—Pictures of the Last Judgment—Orcagna in the Strozzi Chapel—Ambrogio Lorenzetti at Pisa—Dogmatic Theology—Cappella degli Spagnuoli—Traini's "Triumph, of S. Thomas Aquinas"—Political Doctrine expressed in Fresco—Sala della Pace at Siena—Religious Art in Siena and Perugia—The Relation of the Giottesque Painters to the Renaissance.Mediæval Motives exhausted—New Impulse toward Technical Perfection—Naturalists in Painting—Intermediate Achievement needed for the Great Age of Art—Positive Spirit of the Fifteenth Century—Masaccio—The Modern Manner—Paolo Uccello—Perspective—Realistic Painters—The Model—Piero della Francesca—His Study of Form—Resurrection at Borgo San Sepolcro—Melozzo da Forli—Squarcione at Padua—Gentile da Fabriano—Fra Angelico—Benozzo Gozzoli—His Decorative Style—Lippo Lippi—Frescoes at Prato and Spoleto—Filippino Lippi—Sandro Botticelli—His Value for the Student of Renaissance Fancy—His Feeling for Mythology—Piero di Cosimo—Domenico Ghirlandajo—In what sense he sums up the Age—Prosaic Spirit—Florence hitherto supreme in Painting—Extension of Art Activity throughout Italy—Medicean Patronage.CHAPTER V--PAINTING