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 In Siena. 341 formerly placed over them. It was originally painted for S. Pietro Maggiore, Florence. Another famous follower of Giotto was Giottino, so called from his success in imitating his master. He took some share in the paintings of the church of S. Francesco at Assisi. Stefano Florentino must also be mentioned, on account of the great improvement he effected in the imitation of form, although no existing work can be ascribed to him. Other painters influenced by Giotto are Giovanni da Milano, a fellow-worker with Taddeo Gaddi; Jacopo di Casentino (1310 — ab. 1390); and his pupil Spinello Aretino of Arezzo, the author of several of the frescoes in the Campo Santo at Pisa ; and lastly, Giovanni and Agnolo Gaddi, sons of Taddeo. Of the Sienese school, the members of which aimed rather at spiritual expression than an exact imitation of corporeal form, Simone di Martino, known as Simone Memmi (ab. 1284 — 1344), a cotemporary of Giotto and the friend of Petrarch, was the chief. Very few of his works now remain : a fresco in the Cappella de' Spagnuoii in S. Maria Novella, representing the Church Militant, and containing portraits of Cimabue and Petrarch, formerly thought to be Simone's chief work, is now ascribed to Andrea di Firenze, who is thought to have belonged to the Sienese school. Ambrogio Lorenzetti (the dates of whose birth and death are unknown) was the most famous of a family of artists. His principal works is a series of allegorical frescoes, representing the Results of Good Government and the Results of Bad Government, painted in 1337-39, in the Palazzo Pubblico at Siena; and to him and his brother are now given the frescoes in the Campo Santo