Memmi的数字保留上一代后期Duecento大师如发现静态和一般正面视图圭达锡耶纳。他的记录，并归咎于工作的共同特点是成分复杂的安排，一个醒目的面部圆润呈现人物，眯着眼睛，眉毛优美的线条，和拉长鼻子。

Memmi的数字被认为比他同时代Trecento少创新，用在脸上的线条的敏感性和眼睛哈肯回的约定拜占庭式的传统。虽然他们表现出Memmi坚持强调中世纪艺术的精神功能的早期约定，也有前瞻性他的同胞锡耶纳主人的风格发展的迹象。他的描述圣 艾格尼丝面板（1300年至1350年）显示Memmi的图案风格是如何的严重程度，角度比Duecento他的作品意象回忆说：“......有柔软的特质和它的精神是宁静的。” [1]事实上，他的情感和现实主义的描写也被这种“柔静'制服，让数字阅读作为有些古老的，但突出的一个梦幻般的品质。

Memmi是记住与射线图案鲜明的冲压锡晕金箔。这种兴趣在设计上延续到Memmi的观察面料的图案和它们的位置。他也被称为一个有效的微雕，使用的Sgraffito作为格里格斯刻画得细腻呈现服装麦当娜和儿童在The（1350）大都会艺术博物馆在纽约，和圣母升天（1340）在老绘画陈列馆中慕尼黑。[2]Memmi的细节感兴趣的是利用简单的几何形状他的创新成分的设备很明显，如在天使的圆形排列圣母升天。[2]

术语“Lippesque'，由Joseph Polzer杜撰，描述Memmi的视觉装置的几个麦当娜和基督图像中找到的整体效果。“尤其是他的头是轴向和正面坐着的圣婴的中心形象，并责令...关闭头的形状，以球体和共享由头发相同的中心位置旋转加冕一个主导大额头”。这些Lippesque元素上在锡耶纳显示器S. 玛丽亚代Servi大街，这Polzer用来展示的Memmi的作者麦当娜和儿童与圣母加冕在油画馆，柏林，而不是西蒙娜尼。

相当数量的无符号面板和早中期祭坛正在进行的研究Trecento锡耶纳艺术透露Memmi对产生各种各样的艺术家的似是而非的影响力爆发后黑死病于1348年。因此，他的风格更完整的理解和艺术成就不断涌现。他作为个人表达的艺术家，而不是一个简单的工匠和他的弟弟，女婿西蒙·尼正在被接受“弗拉特罗的艺术”的地位。

研究20世纪20年代就开始力宝Memmi的作品从那些分离圭达锡耶纳。会议还同意一个艺术家，上写着巴纳是一个同学在西蒙尼尼和Memmi艺术合作者。在圣归因于艾格尼丝的Memmi面板，希顿说，它是“......赋予了设计和特点的艺术家不具备比通常的前提一个更加独立，个性创意作品少见的团结面板力宝Memmi“。

在壁画的新约圣经周期圣吉米纳诺的学院教堂，虽然从1340s至今，现在一般归因于力宝Memmi。传统上，他们是由于锡耶纳巴纳，但现在认为该艺术家从来没有存在过，即使归属从文艺复兴时期的艺术传记的写作日期瓦萨里。瓦萨里取了这个名字从早期的工作由吉贝尔蒂，但它被认为是“巴纳”可能会被错误地从“巴托罗”转录，并提到了巴托罗迪弗雷迪谁在教堂对面过道画旧约周期。这表明，归因于巴纳等作品可能是Memmi的作品，从而他的风格坚持西蒙娜·马提尼较少的约束力。

该Memmi车间开始与力宝的父亲的Memmo迪Filippucci。其早期作品，如1317 圣吉米纳诺Maestà在市府大厦，是两者的合作。[6]在1330s店产生的奥维多Polyptych面板。[7]力宝的弟弟费德里戈Memmi属于店1343之前，在时间归结为“锡耶纳巴纳”新约圣经周期等作品被生产。

西蒙娜·马提尼是兄弟媳妇力宝。力宝后，从返回锡耶纳阿维尼翁有一个与西蒙娜尼互动的迹象。Memmi对假设的影响Naddo切卡雷利在他的反叛天使暗示的想法从力宝店新兴和年轻一代的手下锡耶纳艺术家学徒之间更直接的风格联系。

1333报喜的乌菲齐佛罗伦萨是由两个力宝和西蒙娜签署。Memmi对面板一定的贡献是书夹面板的光晕，和圣玛格丽特和圣Ansanus柱状渲染。在大天使迈克尔的光环的抄写员的工作，可以说是金箔背景也Memmi贡献。

Memmi马尔蒂尼最有可能落户到与来自约1320奥维多的Monaldeschi祭坛由“设置围绕中心莲座一个四瓣复合冲压设计”的烫金图案熟悉的风格。[11]他最识别设备在发现交替的长和短线描绘的圣人和天使的光环发出的光，在报喜最著名的认可，但我们看到这个在整个职业生涯中的作品，如圣母子在纽约，该谦卑的处女在柏林，和他的小Maesta在锡耶纳的圣多米尼克修道院。

Memmi的Maestà在圣吉米纳诺是惊人的各种方法pastiglia用烫金的工作。宝座上尖金锡，金箔为它们精心错综复杂punchwork呈现的光晕，夹层锡他描述为“很少在其他地方遇到了整齐的完美”这些材料的应用。[12]的图案和复杂程度的考试在punchwork使得历史学家认识到力宝Memmi的手，给他与西蒙尼合作的地方一个清晰的概念。邮票的设计，烫金光检查晕的执行是类似的，但表明，在1317力宝Memmi成熟镀金和划线工作模式圣吉米纳诺Maestà根植于简单的图案和欠发达行他申请马尔蒂尼的Maestà在1315 宫殿共和锡耶纳。

The number of Memmi retained a generation of late Duecento masters such as static and positive view of Siena guida. His record, and attributed to the common characteristics of the work is the composition of the complex arrangement, a striking face rounded presentation of characters, narrow eyes, eyebrows, beautiful lines, and elongated nose.
The number of Memmi is considered more than his contemporaries Trecento less innovation, in the face with the lines on the sensitivity and eyes agreed harken back to the Byzantine tradition. While they demonstrate Memmi's early commitment to emphasizing the spiritual function of medieval art, there are also signs of the development of the style of his fellow Siena masters. His description of St. Agnes (1300 to 1350) display panel Memmi design style is how serious, than his works of Duecento image recalled: "...... have a soft character and the spirit of it is quiet." [1] in fact, his emotional and realistic depiction of this kind of "gentle and quiet" uniform, so that the number of reading as some of the old, but the outstanding quality of a dream.
Memmi is remembered for gold stamping tin halo and ray bright pattern. This interest is extended to the design of Memmi to observe the pattern of the fabric and their location. He is also known as a valid python, the use of Sgraffito as a portrait of Griggs and Madonna in the children's clothing delicate rendering of The (1350) in Metropolitan Museum of Art in New York, and the assumption of the Virgin (1340) in the old painting Museum in Munich. The details of the [2]Memmi are interested in using innovative components of his simple geometry of the device is obvious, as in the circular arrangement of the assumption of the virgin angel. [2]
The term "Lippesque'Joseph Polzer, the overall effect of fiction, find a few Madonna and Christ image description Memmi in visual device. "In particular, his head is the center of the image the child sitting in axial and positive, and ordered to shut down... Head shape, sphere and share the same center of rotation by hair crowned in a leading large forehead". These Lippesque elements are on display at S. Maria in Siena on behalf of Servi Avenue, which is used by Memmi to show the author of the Polzer and the children with the coronation of the virgin in the oil painting Museum in Berlin, rather than the Simon Nani.The outbreak of a considerable number of unsigned panel and early middle altar ongoing research revealed that Memmi of Trecento Siena art produces a wide variety of artists in 1348 after the specious influence. As a result, more complete understanding of his style and artistic achievements continue to emerge. He as an artist of personal expression, not a simple craftsman and his brother, son-in-law Simon Ni is being accepted "the art of Flath Lo" status.
On 1920s began the Lippo Memmi works from those from Siena guida. The meeting also agreed with an artist, who wrote that Bana was a fellow student at the and Memmi art collaborator. The Memmi panel in San attributed to Agnes Heaton said, it is "...... gives the design and characteristics of the artists do not have a more than usually the premise of independent personality, creative works of rare unity Lippo panel Memmi".
In the New Testament period of Siena murals from the 1340s College Chapel, although so far, now generally attributed to Yu Libao Memmi. Traditionally, they are due to the Siena Bana, but now that the artist has never existed, even if the ownership from the Renaissance art biography writing date vasari. He took the name from the early work by Gilbert M Siti, but it is believed that "Bana" might be wrong from the transcription, and referred to the Bartolo "Baho Roddy Freddie who in the Old Testament period painting across the aisle. This suggests that the works attributed to Bana and others may be Memmi's works, and thus his style insists that Simone Martini is less binding.
The Memmi workshop started with father Memmo Lippo di Filippucci. His early works, such as 1317 Maest, in San Gimignano municipal building, is the cooperation. Orvieto Polyptych panel [6] produced in the 1330s shop. Before [7]'s brother Memmi Ge Lippo Federico belongs to the shop 1343, at the time attributed to the "Siena Bana" the New Testament period and other works by production.
Simone Martini is the brother-in-law of lippo. Lippo, returned to Siena from Avignon has a sign with Simon Nani interactive. Effect of Memmi on the assumption of Naddo cut Cavalieri in his rebel angel implied ideas from between emerging Libao store and the younger generation of artists in Siena's Apprentice more direct contact style.
1333 news Florence is signed by two Uffizi Lippo and Simone. Memmi is a book on the halo of a panel panel contribution, and Saint Margaret and Saint Ansanus column rendering. The archangel Michael aura scribe's work, can be said to be the gold background with Memmi.
Memmi Maldini is most likely to settle in and from about 1320 Monaldeschi around the center of the altar of Oviedo, familiar with a rosette four flap composite stamping design "stamping pattern by" style settings. [11] he most recognition equipment found in long and short alternately depicted saints and Angels Halo of light in the good news the most famous recognition, but we see this in the occupation career works, such as the Holy Mother in New York, the humble maiden in Berlin, and his small Maesta San Dominic in Siena monastery.
Memmi Maest is a stunning variety of methods for pastiglia stamping work in siena. On the throne of the sharp gold tin, gold foil as they carefully perplexing punchwork presents halo, which he described as "the little tin sandwich in other places encountered and perfect application of these materials. The [12] pattern and the complexity of the examination in punchwork makes historians recognize Lippo Memmi's hand to his collaboration with Simonyi in the place of a clear concept. The design of the stamps, check the implementation of hot golden halo is similar, but that in the 1317 Memmi mature gold and Lippo marking work mode Maest, rooted in San Gimignano simple patterns and less developed for Maest, he applied for Maldini in the 1315 Republic of Siena palace.