referred to Bartolo di Fredi who painted the Old Testament cycle in the opposite aisle of the church. This suggests that other works attributed to Barna could be works of Memmi and thus his stylistic adherence to Simone Martini is less binding. The Memmi workshop The Memmi workshop began with Lippo's father, Memmo di Filippucci. Its early works, such as the 1317 San Gimignano Maestà in the Palazzo Comunale, are a collaboration of the two. In the 1330s the shop produced the Orvieto Polyptych panels. Lippo's brother Federigo Memmi belonged to the shop before 1343, during the time the New Testament cycle and other works attributed to "Barna of Siena" were produced. Simone Martini was the brother-in-law of Lippo. After Lippo returned to Siena from Avignon there is little evidence of interaction with Simone Martini. The influence of Memmi's Assumption on Naddo Ceccarelli in his Rebel Angels (another term for fallen angels) suggests a more direct stylistic connection between the ideas emerging from Lippo's shop and the younger generation of Sienese artists apprenticing under him. Collaboration with Simone Martini The 1333 Annunciation at the Uffizi in Florence is signed by both Lippo and Simone. Memmi's definite contribution to the panel are the halos for, and columnar renderings of St. Margaret and St. Ansanus that bookend the panel. The scribe work in the Arch Angel Michael's halo and arguably the gold leaf background were also Memmi contributions. Stamp work with gold leaf and tin Memmi and Martini most likely settled into a familiar style in gilding patterns with the Monaldeschi altarpiece in Orvieto from about 1320 consisting of a “composite punch design of a quatrefoil set about a central rosette”. His most identifiable device is found in the alternating long and short lines depicting light emanating from the halos of saints and angels, most famously recognized in the Annunciation, yet we see this in works throughout his career such as the Virgin and Child in New York, the Virgin of Humility in Berlin, and his small Maesta in the San Domenico cloister in Siena. Memmi's Maestà at San Gimignano is striking in the various methods of pastiglia and gilding work used. Golden tin on the throne cusps, laminated tin with gold foil for the halos which are carefully rendered with intricate punchwork, his application of these materials described as “a neat perfection rarely encountered elsewhere”. Examination of the motifs and degree