At this time, Jacopo di Voragine compiled the "Golden Legend," a
collection of sacred stories, some already current, some new, or
in a new form. This famous book added many themes to those already
admitted, and became the authority and storehouse for the early
painters in their groups and dramatic compositions. The increasing
enthusiasm for the Virgin naturally caused an increasing demand for
the subjects taken from her personal history, and led, consequently,
to a more exact study of those natural objects and effects which were
required as accessories, to greater skill in grouping the figures, and
to a higher development of historic art.

But of all the influences on Italian art in that wonderful fourteenth
century, Dante was the greatest. He was the intimate friend of Giotto.
Through the communion of mind, not less than through his writings,
he infused into religious art that mingled theology, poetry, and
mysticism, which ruled in the Giottesque school during the following
century, and went hand in hand with the development of the power and
practice of imitation. Now, the theology of Dante was the theology of
his age. His ideas respecting the Virgin Mary were precisely those
to which the writings of St. Bernard, St. Bonaventura, and St. Thomas
Aquinas had already lent all the persuasive power of eloquence, and
the Church all the weight of her authority. Dante rendered these
doctrines into poetry, and Giotto and his followers rendered them
into form. In the Paradise of Dante, the glorification of Mary,
as the "Mystic Rose" (_Roxa Mystica_) and Queen of Heaven,--with
the attendant angels, circle within circle, floating round her in
adoration, and singing the Regina Coeli, and saints and patriarchs
stretching forth their hands towards her,--is all a splendid, but
still indefinite vision of dazzling light crossed by shadowy forms.
The painters of the fourteenth century, in translating these glories