Plate 17.—Detail of The Crucifixion
Fra Angelico, Monastery of St. Mark, Florence
most careful in execution: those on the right half, the Dominican fathers and brothers, and other founders of religious orders, are in the dark grey, white, and brown dresses of their orders, the balance of colour on this side being obtained by the bright red of the Cardinal’s hat and of a book-cover, and the golden-coloured nimbi of the figures. A warmer scheme of colour is noticed on the left half of the painting, where golden tints, soft reds, grey greens, white, and grey complete an excellent harmony. The figure of Christ on the Cross is in very pale flesh tints, and has a white garment; the flesh tints of the thieves on either side being darker in tone. The general effect of the colouring is very pure and luminous.
After Giotto, we may say, that the artist whose influence is most apparent in Italian art was the Florentine painter, Masaccio (1401-1428?). His most important works are the frescos he painted in the Brancacci Chapel of the Church of S. Maria del Carmine, at Florence. The instructor of Masaccio is supposed to have been Masolino da Panicale (1384-1435), who first painted some frescos in the above chapel, and who, according to Vasari, was commissioned to decorate the chapel with scenes from the history of St. Peter, some of which he had executed, but they are no longer in existence, unless we place to his credit the “Adam and Eve” fresco on the right wall, although some writers have ascribed this work to Filippino Lippi (1460-1505), the son of the painter Filippo Lippi, and a scholar of Botticelli.
There are really very few works left by Masaccio, but those which still are in existence clearly prove that he was far in advance of any artist of his time in his complete mastery of the human figure, as shown by his searching and accurate draughtsmanship, his great knowledge of anatomy, and his facility in giving spirit, action, and vitality to his decorative compositions. His gifts in these directions place him at the head of the greatest artists of the early half of the fifteenth century. His achievements are all the more wonderful if we believe, as it is said, that he died at the early age of twenty-six, though some authorities state that he reached the age of forty-one years. The finest authentic work from his hand is the fresco of “The Tribute Money,” which he painted on the left wall of the Brancacci Chapel, and this work still remains as a monument to his great powers. This work is a picture which includes three scenes in its composition; namely, (1) The central group, where Christ rebukes St. Peter, around whom are the standing figures of the apostles, with varied expressions of indignation; the figure in the foreground, back view, in this group is that of the tax-collector, and the last figure of this central group, on the right, is a portrait of Masaccio. (2) The scene on the left, middle distance, represents St. Peter finding the money in the body of the fish, and (3) that on the
