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. TRANSITION PAINTERS: Several painters, Starnina (1354-1413), Gentile da Fabriano (1360?-1440?), Fra Angelico (1387-1455), have been put down in art history as the makers of the transition from Gothic to Renaissance painting. They hardly deserve the title. There was no transition. The development went on, and these painters, coming late in the fourteenth century and living into the fifteenth, simply showed the changing style, the advance in the study of nature and the technic of art. Starnina's work gave strong evidence of the study of form, but it was no such work as Masaccio's. There is always a little of the past in the present, and these painters showed traces of Byzantinism in details of the face and figure, in coloring, and in gold embossing.