The author undertook a detailed examination of two paintings (S. Philip and S. Francis, Art Museum, Worcester) by the Master of Figline prior to restoring them. He used x-radiography, pigment analysis, and studied the surface features with a variable power binocular magnifier. He observes and discusses technical parallels between the panel joining method, border and halo decoration, and painting and modelling techniques the Master used, and draws attention to their similarity to those used in Sienese workshops, particularly those of Ambrogio and Pietro Lorenzetti, and their close associates.