A glance at the map shows to what a large extent the Italians owed the progress of their arts to Tuscany. Pisa, as we have already seen, took the lead in sculpture. Florence, at a somewhat later period, revived painting, while Siena contemporaneously developed a style peculiar to herself. This Sienese style—thoroughly Tuscan, though different from that of Florence—exercised an important influence over the schools of Umbria, and gave a peculiar quality to Perugian painting. Through Piero della Francesca, a native of Borgo San Sepolcro, the Florentine tradition was extended to Umbria and the Roman States. Perugia might be even geographically claimed for Tuscany, inasmuch as the Tiber divides the old Etrurian territory from the Umbrians and the duchy of Spoleto. Lionardo was a Tuscan settled as an alien in Milan. Raphael, though a native of Urbino, derived his training from Florence, indirectly through his father and his master Perugino, more immediately from Fra Bartolommeo and Michael Angelo.
If Vasari is to be trusted, this visit of Charles of Anjou to Cimabue's studio took place in 1267; but neither the Malespini nor Villani mention it, and the old belief that the Borgo Allegri owed its name to the popular rejoicing at that time is now somewhat discredited. See Vasari, Le Monnier, 1846, vol. i. p. 225, note 4. Gino Capponi, in his Storia della Repubblica di Firenze, vol. i. p. 157, refuses however to reject the legend.
See Capponi, vol. i. pp. 59, 78, for a description of the gay and courteous living of the Florentines upon the end of the thirteenth century.