ra
(1481?-1547?), an exceptionally brilliant colorist and a painter of
much distinction, was under Leonardo's influence at one time, and
with the teachings of that master he mingled a little of Raphael in
the type of face. He was an uneven painter, often excessive in
sentiment, but at his best one of the most charming of the northern
painters.

SODOMA AND THE SIENNESE: Sienna, alive in the fourteenth century to
all that was stirring in art, in the fifteenth century was in complete
eclipse, no painters of consequence emanating from there or being
established there. In the sixteenth century there was a revival of art
because of a northern painter settling there and building up a new
school. This painter was Sodoma (1477?-1549). He was one of the best
pupils of Leonardo da Vinci, a master of the human figure, handling it
with much grace and charm of expression, but not so successful with
groups or studied compositions, wherein he was inclined to huddle and
over-crowd space. He was afterward led off by the brilliant success of
Raphael, and adopted something of that master's style. His best work
was done in fresco, though he did some easel pictures that have
darkened very much through time. He was a friend of Raphael, and his
portrait appears beside Raphael's in the latter painter's celebrated
School of Athens. The pupils and followers of the Siennese School were
not men of great strength. Pacchiarotta (1474-1540?), Girolamo della
Pacchia (1477-1535), Peruzzi (1481-1536), a half-Lombard half-Umbrian
painter of ability, and Beccafumi (1486-1551) were the principal
lights. The influence of the school was slight.

[Illustration: FIG. 45.--SODOMA. ECSTASY OF ST. CATHERINE. SIENNA.]

FERRARA AND BOLOGNESE SCHOOLS: The painters of these schools during
the sixteenth century have usually been classed among the followers
and imitators of Raphael, but not without some injustice. The
influence of Raphael was great throughout Central Italy, and the
Ferrarese and Bolognese felt it, but not to the extinction of their
native thought and methods. Moreover, there was some influence in
color coming from the Venetian school, but again not to the entire
extinction of Ferrarese individuality. Dosso Dossi (1479?-1541), at
Ferrara, a pupil of Lorenzo Costa, was the chief painter of the time,
and he showed more of Giorgione in color and light-and-shade than
anyone else, yet he never abandoned the yellows, greens, and reds
peculiar to Ferrara, a