As in sculpture, so in painting, a decline set in after 1348. In the latter part of the fourteenth century worked Giacomo di Mino del Pellicciaio, Lippo di Vanni, Bartolo di Maestro Fredi (who died in 1410), Barna or Berna, Luca di Tommè, Paolo di Giovanni, Andrea di Vanni. They are somewhat mediocre artists, far below the Lorenzetti, from whom they not unfrequently borrow motives; still, as religious illustrators, they follow to the best of their limited powers the greater men who had gone before. Andrea di Vanni is an exceedingly interesting personality; he was a man of mark in the counsels of the Riformatori, served the State as ambassador and in other capacities, and was a fervent disciple of St Catherine, who addressed several letters to him and whose portrait he painted. Barna can only be studied at San Gimignano, and the picture ascribed to Andrea di Vanni (59) is not one of his few authenticated works. But Bartolo di Maestro Fredi is represented in this Stanza II. by a whole series of paintings (42 to 49); by Luca di Tommè is a signed and dated picture of 1367 (54), in which the central group of St Anne with a very sweet and girlish Madonna has great charm; Paolo di Giovanni's Nativity of the Blessed Virgin (61), partly imitated from a picture by Pietro Lorenzetti, is bright and pleasant in colour and feeling; by Giacomo di Mino is a triptych (90). This room contains also some good and characteristic works of the Florentine school of the Trecento; a Madonna with the Magdalene and St Catherine of Alexandria and Angels (52), signed by Taddeo Gaddi; the Death and Coronation of the Madonna (64, 70), by Spinello Aretino. The connecting link between this group of Sienese artists and the painters of the Quattrocento is found in Taddeo di Bartolo (1363-1422), the pupil of Bartolo di Fredi. With no striking originality nor any great power, Taddeo was a conscientious and meritorious painter, whose works show a deep religious feeling, and who exercised considerable influence upon the Sienese school of his day. Most of the greater painters of the succeeding epoch may be said to have proceeded, directly or indirectly, from his school. By Taddeo di Bartolo, besides a number of smaller pictures, there is in this room one large altar-piece in several divisions (76), signed and dated 1409, of which the central scene is the Annunciation with St Cosmas and St Damian, the patron saints of the medical profession.