In the Palazzo Pubblico of his native city he painted a vast picture of the Virgin enthroned beneath a canopy and surrounded by saints;[154] while at Assisi he put forth his whole power in portraying the legend of S.Martin.In all his paintings we trace the skill of an exquisite and patient craftsman, elaborately careful to finish his work with the utmost refinement, sensitive to feminine beauty, full of delicate inventiveness, and gifted with a rare feeling for grace.

These excellent qualities tend, however, towards affectation and over-softness; nor are they fortified by such vigour of conception or such majesty in composition as belong to the greatest _trecentisti_.

The Lorenzetti alone soared high above the Sienese mannerism into a region of masculine imaginative art.

We feel Simone's charm mostly in single heads and detached figures, some of which at Assisi have incomparable sweetness.
"Molles Senae," the delicate and femininely variable, fond of all things brilliant, and unstable through defect of sternness, was the fit mother of this ingenious and delightful master.
After the days of Duccio and Simone Martini, of Ambrogio and Pietro Lorenzetti, were over, there remained but little for the Sienese to do in painting.

Taddeo di Bartolo continued the tradition of Duccio as the later Giottesques continued that of Giotto.