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Accordingly he would have been about forty-three when he began the great altarpiece, about forty-seven when he completed it, and about sixty-four when he died in 1319. ( 18 Giotto, Duccio, and the End of the Middle Ages THE SIENESE TRADITION w Giotto's revolution was too great to be assimilated overnight. It proved, in fact, too great to be assimilated during the century genius But and more that elapsed before the appearance of a Masaccio, who assimilated and expanded it. named in the meanwhile, lated, neither could it the revolution could not be assimi- if be ignored, and nobody Florentine painter, and few elsewhere Giotto's were followers sometimes merely awkward.

Ugolino is convenient receptacle, and was perhaps a a real person with a name of his own, but he is a rather weak brother to Pietro and Ambrogio. Siena's decline social and from power through a combination political lassitude the end of the fourteenth century city ceded itself to — to the year. In 1399 the Gian Galeazzo Visconti of Milan luctantly but with a great celebration. become of and corruption was complete by — not re- The boy who was to Siena's greatest painter in her acquiescent decay Stefano di Giovanni, born in 1392 and called Sassetta —was seven years old at the time.

And women and children in they accompanied the said picture to the Cathedral, marching in procession round the is Campo, as homage the custom, while the bells sounded the Gloria, in noble a painting as this to so is. " At that time the altarpiece, about 14 feet wide, consisted of a large group of paintings. Thirteen smaller subjects were included on the predella beneath the main panel, and sixteen small panels rose above it. The back of the altarpiece was also divided into numerous panels, with twenty-six pictures relat- ing the story of the Passion and other smaller panels providing niches for a further congress of saints who had not been included in the immediate presence of the Madonna.

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