The greatest of Duccio’s followers was Simone Martini (1285?-1344), who was also slightly influenced by Giotto. Simone, whose _Christ bearing His Cross_ (No. 1383, Plate I.) is the earliest Sienese picture in the Louvre, has been well described as “a reactionary who made a whole beautiful world of his own.” In this small picture the colours stand out most clearly, although the drawing and perspective are, of course, faulty. It belongs to a series of which other panels are at Antwerp and in the Kaiser Friedrich Museum at Berlin. A _Crucifixion_ (No. 1665) that is catalogued as being by an unknown Sienese artist may be attributed to Ugolino da Siena (fl. 1290-1320); it would seem to be the centre panel of a large and lost altarpiece. [Illustration: PLATE I.—SIMONE MARTINI (1285?-1344) SIENESE SCHOOL No. 1383.—CHRIST BEARING HIS CROSS (Jésus-Christ marchant au Calvaire) Christ, preceded by the executioner, soldiers, and two children, is bearing His Cross to Calvary. He is attended by a large crowd in which may be recognised the Virgin Mary, in blue robes, supported by St. John; St. Mary Magdalene in red, with her long hair falling over her shoulders, raises her hands in grief. Painted in tempera on panel. 10 in. × 4 in. (0·25 × 0·10.)] Pietro Lorenzetti (fl. 1305-50) was probably a pupil of Duccio, and was influenced by Simone Martini, but Pietro and his younger brother, Ambrogio Lorenzetti (1285?-1348?), who represented a new movement and endeavoured to set forth the civic ideal, are not represented in this collection. Simone Martini’s brother-in-law, Lippo Memmi (died 1357?), is possibly the author of the _St. Peter_ (No. 1152), a poor picture which is officially assigned to Taddeo di Bartolo (1362?-1422). The art of the latter is, in the opinion of Mr. Berenson, seen in the small _Crucifixion_ (No. 1622), which the Louvre authorities modestly catalogue as being by an unknown fourteenth-century Italian painter.