Taddeo Gaddi (1300?-1366?) was Giotto's chief pupil, a painter of much feeling, but lacking in the 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.


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 school subjects, but he perfected details of form, such as the hands and feet, and while retaining the long Byzantine face, gave it a melancholy tenderness of expression. He possessed no dramatic force, but had a refined workmanship for his time—a workmanship perhaps better, all told, than that of his Florentine contemporary, Cimabue. Simone di Martino (1283?-1344?) changed the type somewhat by rounding the form. His drawing was not always correct, but in color he was good and in detail exact and minute. He probably profited somewhat by the example of Giotto.

The Siennese who came the nearest to Giotto's excellence were the brothers Ambrogio (fl. 1342) and Pietro (fl. 1350) Lorenzetti. There is little known about them except that they worked together in a similar manner. The most of their work has perished, but what remains shows an intellectual grasp equal to any of the age. The Sienna frescos by Ambrogio Lorenzetti are strong in facial character, and some of the figures, like that of the white-robed Peace, are beautiful in their flow of line. Lippo Memmi (?-1356), Bartolo di Fredi (1330-1410), and Taddeo di Bartolo (1362-1422), were other painters of the school. The late men rather carried detail to excess, and the school grew conventional instead of advancing.