The four items of the financial administration whose decoration is attributed to Dietisalvi, that of 1267 shows only the heraldic devices of the
Quattro Provveditori, that is the four chief civic finance officers ( Archivio di Stato di Siena (Siena State Archives), inv. 3; that of July–December 1264 is concerned with Ildebrandino Pagliaresi (Archivio di Stato di Siena, inv. 2); that of January–June 1270 with Ranieri Pagliaresi (Archivio di Stato di Siena, inv. 4); and finally that of July–December 1282 is concerned with Don Griffolino (
Budapest’s
Museum of Fine Arts, inv. 2-36). These four works show a development of style over the two decades, in the direction of a greater similarity with the work of
Giunta Pisano and
Cimabue, and with the freer strokes and paler effects of his more diligent contemporary
Guido da Siena, with whom he in fact had sometimes worked. In 1991
Luciano Bellosi claimed considerable importance for Dietisalvi, as an artist, attributing to him a number of important works painted on wood, that had at different times been assigned variously either to him or to
Guido of Siena. Such works included the
Madonna di San Bernardino, dated 1262, the
Madonna col Bambino of the Museo statale d’arte medievale e moderna (State Museum of Medieval and Modern Art) of
Arezzo, the
Galli-Dunn Madonna and the
Madonna del Voto, executed for an altar in
Siena Cathedral. These works display a gradual distancing from the influence of
Coppo di Marcovaldo, and a movement towards more substantial depiction of bodies and a greater attention to colour. In addition, Dietisalvi is credited with the outer doors on the reliquary of Blessed
Andrea Gallerani (in the
Pinacoteca Nazionale (National Gallery) of
Siena, inv. 5). The interior doors of the reliquary are attributed to
Guido da Siena. Likewise attributed to Dietisalvi are some of the panels of the
Dossale di Badia Ardenga (Reredos of Badia Ardenga) (in the
Pinacoteca Nazionale of
Siena) and the
Reliquary of Saints Francis, Catherine, Bartholomew and Clare (also in the
Pinacoteca Nazionale of
Siena). The final part of Dietisalvi's career is associated with the cross preserved in
Siena’s
Museo delle pie disposizioni (Museum of Pious Bequests), which seems to be influenced by the
Maestà, then a recent work of
Cimabue. Finally, some frescoes in the
crypt of
Siena Cathedral are taken to be his, in particular the depiction of the
Kiss of Judas, and some other discovered in recent times. ==Gallery==