Siena, by her bloody factions and her passionate peacemakings, expressed in daily action what the painter had depicted on her palace walls.
The method of treatment adopted for these chapters has obliged me to give priority to Florence, and to speak of the two Lorenzetti, Pietro in the Pisan Campo Santo and Ambrogio in the Sala della Pace at Siena, as though they were followers of Giotto; so true is it that the main currents of Tuscan art were governed by Florentine influences, and that Giotto's genius made itself felt in all the work of his immediate successors.

It must, however, be observed that painting had an independent origin among the Sienese, and that Guido da Siena may claim to rank even earlier than Cimabue.[149] In the year 1260, just before engaging in their duel with Florence, the Sienese dedicated their city to the Virgin; and the victory of Montaperti, following immediately upon this vow, gave a marked impulse to their piety.[150] The early masters of Siena devoted themselves to religious paintings, especially to pictures of Madonna suited for chapels and oratories.

We find upon these mystic panels an ecstasy of adoration and a depth of fervour which are alien to the more sober spirit of Florence, combined with an almost infantine delight in pure bright colours, and in the decorative details of the miniaturist.
The first great painter among the Sienese was Duccio di Buoninsegna.[151] The completion of his masterpiece--a picture of the Majesty of the Virgin, executed for the high altar of the Duomo--marked an epoch in the history of Siena.

Nearly two years had been spent upon it; the painter receiving sixteen soldi a day from the Commune, together with his materials, in exchange for his whole time and skill and labour.

At last, on June 9, 1310, it was carried from Duccio's workshop to its place in the cathedral.
A procession was formed by the clergy, with the archbishop at their head, followed by the magistrates of the Commune, and the chief men of the Monte de' Nove.