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The Cover
December 1, 1999

The Death of St Anthony

JAMA. 1999;282(21):1990. doi:10-1001/pubs.JAMA-ISSN-0098-7484-282-21-jcs90042

While Florence was hustling into the modern world—indeed, one might say, inventing it—its neighbor Siena was carefully gathering beneath her elegant skirts what remained of the Byzantine beauty she had known and loved during the Middle Ages. Not 40 miles apart as the crow flies, the two cities were politically and culturally centuries apart; artistically, they occupied separate planets. Florence's renascence had begun with Giotto, and it culminated in Michelangelo, with an almost endless list of stars between them: Orcagna, Masaccio, Donatello, Brunelleschi, Ghiberti, Uccello, Lucadella Robbia, Fra Filippo, Fra Angelico, Piero della Francesca, Pollaiuolo, Verrocchio, Leonardo, and Botticelli. Siena's roster, on the other hand, is as brief as Florence's was long: Duccio; Simone Martini; the Lorenzettis, Ambrogio and Pietro; and, bringing up the rear, the little-known Sassetta (1392-1450), whose real name, Stefano di Giovanni, was almost never used.

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