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Abstract
Sienese sculpture of the Trecento appears to have derived all its essential stimuli from two very different sources: One is the sculpture of Nicola and Giovanni Pisano; the other, painting. Several years ago Ulrich Middeldorf and Manfred Wundram traced Andrea Pisano's artistic origins back, in part, to Sienese painting.1 More recently Antje Kosegarten pointed out Giotto's influence on early Trecento sculpture in Siena.2 I myself was able to localize and date a group of Sienese-Umbrian sculptures of the second half of the Trecento by relating them to Sienese paintings attributable to followers of the Lorenzetti.3