SIENESE SCHOOL OF PAINTING. The principal Italian school of painting, next to the Florentine, in the later thirteenth and four teenth centuries; the fifteenth it declined. As compared with the Florentine school (q.v.) it was more detailed in finish, brighter in color, and more refined in sentiment, but inferior in line and dramatic action, and less naturalistic. It appealed to sentiment rather than understand ing; its subjects were the ideals and feelings of the Middle Age, and it retained more of the By zantine elements than did the Florentine. Its founder was Pucci° (active 1282-1339), whose pupil Simone .Martini ranked with Giotto in the estimation of contemporaries. Among his followers the influence of the school of Giotto makes itself felt, but while gaining in re ligious earnestness, they retained the essentially Sienese qualities. This combination appears in the brothers Pietro and Ambrogio Lorenzetti, the principal followers of Others, like the Bartoli brothers and Sano di Pietro, carried the antiquated style Tar into the fifteenth century.
The true successor of the Sienese was the Um brian school (q.v.), which expressed the same sentiment in the forms of the Renaissance.
During the sixteenth century a new school arose in Siena, by Sodonia (q.v.) (1477-1599), a pupil of Leonardo. Its art, however, was a transplanting of the Lombard manner rather than anything specifically Sienese. The chief representatives of the school are Girolamo della Pacehia, the architect Peruzzi, and Domenko Beccafumi. Consult: Crowe and Cavalcaselle, History of Painting in Italy (London, 1866) ; Berenson, Central Italian. Painters of the Rmais sauce (New York. 1897) : and the general histo ries referred to under PAINTING.