Throughout Daddi's career he looked at other artists for inspiration, borrowing ideas yet developing them into his own style. In the 1330s his works became more lyrical, not only under the influence of Florentine artists of the so-called miniaturist tendency such as the St Cecelia Master, but also from Sienese artists, such as Simone Martini and the Lorenzetti brothers.
Unusual amongst Florentine artists for the refinement of his design and the decorative embellishments of his panel paintings (reminiscent of Sienese art), his work was a fusion of Florentine and Sienese styles.
He specialised in small-scale devotional works and made a major contribution to the development of the portable tabernacle. In the 1340s he produced a number of larger scale polyptychs, culminating in 1348 with one of his last known works - the Crucifixion altarpiece from S Giorgio a Ruballa, now in the Courtauld Gallery (Fig.1). Daddi's style was influential upon many Florentine artists in the 14th century, including Orcagna and Nardo di Cione.
