large elements of construction and in the
dramatic force of his master. Agnolo Gaddi (1333?-1396?), Antonio
Veneziano (1312?-1388?), Giovanni da Milano (fl. 1366), Andrea da
Firenze (fl. 1377), were all followers of the Giotto methods, and were
so similar in their styles that their works are often confused and
erroneously attributed. Giottino (1324?-1357?) was a supposed imitator
of Giotto, of whom little is known. Orcagna (1329?-1376?) still
further advanced the Giottesque type and method. He gathered up and
united in himself all the art teachings of his time. In working out
problems of form and in delicacy and charm of expression he went
beyond his predecessors. He was a many-sided genius, knowing not only
in a matter of natural appearance, but in color problems, in
perspective, shadows, and light. His art was further along toward the
Renaissance than that of any other Giottesque. He almost changed the
character of painting, and yet did not live near enough to the
fifteenth century to accomplish it completely. Spinello Aretino
(1332?-1410?) was the last of the great Giotto followers. He carried
out the teachings of the school in technical features, such as
composition, drawing, and relief by color rather than by light, but he
lacked the creative power of Giotto. In fact, none of the Giottesque
can be said to have improved upon the master, taking him as a whole.
Toward the beginning of the fifteenth century the school rather
declined.

SIENNESE SCHOOL: The art teachings and traditions of the past seemed
deeper rooted at Sienna than at Florence. Nor was there so much
attempt to shake them off as at Florence. Giotto broke the immobility
of the Byzantine model by showing the draped figure in action. So also
did the Siennese to some extent, but they cared more for the
expression of the spiritual than the beauty of the natural. The
Florentines were robust, resolute, even a little coarse at times; the
Siennese were more refined and sentimental. Their fancy ran to
sweetness of face rather than to bodily vigor. Again, their art was
more ornate, richer in costume, color, and detail than Florentine art;
but it was also more finical and narrow in scope.

[Illustration: FIG. 24.--A. LORENZETTI. PEACE (DETAIL). TOWN-HALL,
SIENNA.]

There was little advance upon Byzantinism in the work of Guido da
Sienna (fl. 1275). Even Duccio (1260?----?), the real founder of the
Siennese school, retained Byzantine methods and adopted the scho