Excerpt from A History of Painting in Italy Umbria Florence and Siena From the Second to the Sixteenth Century, Vol. 6 of 6

IN considering the last phase of development in the Sienese school, nothing is more remarkable than its assimilation of varied foreign elements. After clinging to old and almost in eradicable habits nearly to the close of the fifteenth century, painters who had lost all power of self-regeneration gradually took lessons from the Florentine, the Umbrian, and the Lombard, either by coming into contact with men of those countries at Siena, or by studying them abroad. Whilst Signorelli, Pintu ricchio, Perugino, and Bazzi contributed to this alteration by practising in Siena, the Florentines of the following of Andrea del Sarto, Raphael, and Michael Angelo, extended their in¿uence in the same quarter by the force, the number, and the importance of the works with which they filled the cities of Italy. Still, though tacitly admitting the superiority of men whom they ad mired, the Sienese never lost entirely the stamp of their nation ality, nor succeeded in discarding their italo-byzantine manner.

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