The text focuses on various aspects of the goldsmith's art in Siena in the second half of the Trecento, as well as other issues relating to the study of this argument. The loss of an enormous patrimony is underlined. It draws, therefore, in the first place, on a paper presented by the author at the Parma conference Medioevo: arte e storia in 2007, published in 2008, in which the Sienese Cross with champlevé enamels then in the Cleveland Museum of Art – which in 2009 fortunately returned to its place of origin, the church of Santi Pietro e Andrea in Trequanda (Siena) – was analysed in particular. The work was associated with the activity of Bartolomeo di Tommè known as 'Pizzino', and Mariano d'Agnolo Romanelli, without excluding references to Matteo d'Ambrogio known as 'Sapa'. The aim here is to demonstrate that one of the works taken into consideration at the Parma conference – the Reliquary-Cross of the Museo Nazionale del Bargello (inv. OR 57), to be linked with the Trequanda Cross – can be related to the only known artifact signed by the Sienese goldsmith Matteo di Mino di Pagliaio, documented from 1369 to 1380, to whom the present paper is dedicated in particular. This is the Chalice now at the Kunstgewerbemuseum in Berlin (inv. K 4266), whose original place of destination is unknown and is badly damaged, a fact that has inevitably and understandably contributed to the scarce consideration of the work by art scholars. The translucent enamels decorating it, however deteriorated, are in fact stylistically very similar to those, carried out with the same technique, of the Reliquary-Cross of the Bargello. We therefore have a large nucleus of small low-relief plaque enamels to which – despite being aware of the limits imposed by the peculiar nature of this kind of artifact – we may link the figure of a historically documented goldsmith belonging to a family in which goldworking was practised. This means being able to include – on the basis of surviving figurative evidence (and not just documentary evidence, which is fairly scanty) – the activity of Matteo di Mino di Pagliaio in that context which sees involved, with working roles that are difficult if not impossible to define and circumscribe, the above-mentioned goldsmiths, masters all working on the execution of sculptures for the Cappella di Piazza del Campo. In the second part of the paper the Reliquary of the True Cross from the church of San Giovanni Battista at Querceto (Montecatini Val di Cecina) is analysed. This is a small cuspidated Gothic tabernacle with side panels, in silver gilt, made in Siena, we would suggest, in the late 1350s or during the 1360s.